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The AMERICAN SYSTEM 
of DRESSMAKING 



BY 



MISS PEARL MERWIN 

Supervisor 

AMERICAN COLLEGE 
of DRESSMAKING 




PUBLISHED BY 

The American College of Dressmaking 

ASSOCIATED TRAINING SCHOOLS. Prop. 

KANSAS CITY, MO., U. S. A. 






s-\ 



Copyrighted 1906, 1907, 1908 and 1909 

b^ J. M. Stelie 

Copyrighted 1910 and 1912 

bg Associated Training Schools. 



All rights reserved. 



Printed in the United States 



Fourth Edition. 



[QL-isq^n 



/.' 



yQ C. A a J 1 ^ o G 
7< <j ' 



PREFACE 

The Science of Dressmaking and Ladies' 
Tailoring embraces a vast scope of knowledge, 
much of which because of the very nature of the 
relation which they sustain to the home and so- 
ciety, becomes in a general way, the common 
property of all women. Beginning with the 
simplest forms, and gradually developing chap- 
ter by chapter, the more complicated phases of 
the profession, the author had studiously striven 
to classify and crystallize this general knowl- 
edge into a tangible working system. The suc- 
cess of her effort will depend largely upon the 
student's attitude toward the study and her de- 
sire to become proficient in the application of 
the principles outlined. 

This volume is intended to be at once a 
complete and comprehensive text book for the 
beginner, a handy guide for the seamstress in 
the home, and a ready reference for the gradu- 
ate and professional dressmaker. 

The large printed drafts anil tailor's square 
which accompany the lessons are essential to an 
intelligent application of the American System 
of Dressmaking-. 



♦ 


CONTENTS 


♦ 



LESSON I. 
lii<i'oiliicUoii :iii«l Itiiles. 

Sewing Stitches. Basting, Running, Baclc-Stitch, Overcast- 
ing, Overhanding, Hemming, Cat-Stitching, Feather-Stitching, 
Hem-Stitching, French Seam, Fell Seam, French Hem, French 
Knots, Buttonholes, Tailored Buttonholes, Eyelets, Loops, Sew- 
ing on Buttons, Button Moulds, Smocking. Diamond Smocking, 
Honeycomb Smocking, Hemstitching on Machine, Sheaf-Stitch, 
Herring-bone Stitch, Fagotting, Single-Stitched Seam. Broad 
Seam Stitch, Welt Seam, Double-Stitched Welt, Open Welt, 
Double-Stitched Slot Seam, Strap Seam, Imitation Strap Seam, 
Raw Edge Lapped Seam, Cord Seam. Bias Bands and Folds, 
Joining of Bias Strip, Milliners' Fold, Silk Folds. Making Strapn 
for Seams, Crow Foot, Mark-stitching, Cording, Shirred Cord- 
ing, Tucked Shirring, French Shirring, Ruchlngs. (57 Illus- 
trations). 



LESSON II. 

How to proceed, The new steel square, Taking Measure- 
ments, Drafting a two-piece back and two-dart front for a 
tight-fitting lining. Drafting a three-piece back and two-dart 
front for a tight-fitting lining for a 40-inch bust measure and 
over. (5 llustratlons). 



LESSON III. 

Testing Measures. Tracing the Lining, Drafting a tight- 
fitting sleeve, Tracing and cutting the sleeve lining. Shirt 
Waist Sleeve, Bishop Sleeve, Elbow Sleeve, Three-quarter 
Length Sleeve, Mosquetalre Sleeve, Leg O'Mutton Sleeve. (6 
illustrations). 



LESSON IV. 

Basting Lining of Waist, Basting Sleeve Lining, Fitting the 
Waist Lining, Fitting the Sleeve Lining, Stitching Lining and 
Finishing Seams, Arranging for Hooks and Eyes, Second Fit- 
ting. Fitting a Lining Over a Form, Pressing, Boning a Waist, 



Finishing Bones at Top, Hook and Eye Bone, Three Cord Tape, 
To Bone Coats with Three Cord Tape, Collar Bone, Drafting 
a Shirt "Waist, Tucking, Fitting a Shirt Waist, Drafting a Neck 
Band of Shirt Waist, Shirt Waist Sleeve, Different Methods of 
Finishing Shirt Waist Sleeves. (51 illustrations). 



LESSON V. 

How to draft patterns for waists shown in fashion plates, 
A tucked waist with yoke and fancy trimming portion, Waist 
Tvith two yokes, also plaits over the shoulders. Tucked waist 
with Insertion between clusters of tucks, The Mannish Shirt 
Waist, Gibson Waist, Tucked Kimono Waist, Draping. (26 Il- 
lustrations). 



LESSON VI. 

Plain Tight-Fitting Waists, Basting Material on Lining, The 
One-piece Yoke and Collar, The Circular Tucked Yoke, To Draft 
a Stock Collar, Drafting a Wrapper Collar, Sailor and Dutch 
Collars, Sailor Blouses, Drafting a Circular Cuff, How to Fit 
Irregular and Disproportionate Figures, The Round Shouldered 
and Over-erect Figure, The Very Prominent or Very Small 
Bust Figures, Square Shoulders, Sloping Shoulders. (21 Illus- 
trations). 



LESSON VII. 

Skirt Measurements, Relative Proportions, Drafting Top 
of Skirt, Testing Hip Line, Constructing the Waistline, Test- 
ing Waistline, Drawing Dart Lines, Inverted Plait. Extension 
of Gores, Adding Flare, Cutting the Skirt, Basting the Skirt, 
Fitting the Skirt. (3 Illustrations). 



LESSON VIII. 

Stitching the Skirt, Finishing the Seams, Finishing the 
Placket (six methods). Finishing the Bottom, Drafting Five- 
Gore Skirt, Five-Gore Flare Skirt, Drafting Nine-Gore Skirt, 
Nine-Gore Flare Skirt, Drafting Fifteen-Gore Skirt, Fifteen- 
Gore Flare Skirt, General Instructions for Adding Flare to 
Skirts. (12 Illustrations). 



LESSON IX. 

How to Finish a Drop or Foundation Skirt, Graduated 
Flounces, Accordian Plaited Flounce, Walking Skirt, Finish- 
ing Bottom of a Walking Skirt, Putting on Brush Braid, The 



High- or Raised Waistline Sltirt, Sliirt Yokes, Peplum, Side 
Plaited Skirts. Skirt with Tucks or Plaits between the Plain 
Gores. Circular Skirts, Shirred Skirts. (12 illustrations). • 



LESSON X, 

Skirts with Flounces, Tucks at Bottom of Skirt, Skirts with 
Uneven Number of Gores, Skirts with Even Number of Gores, 
Box-Plaited Skirts, Double Box-Plaited Skirts, Irregularities 
in Skirt Drafting, Changing Drafts for Different Figures 
Variances from the General Rule of Cutting, Cutting Stripes and 
Plaids. (8 illustrations). 



LESSON XL 

Bands or Folds used in Trimming Skirts, Skirts of Bor- 
dered Material, How to draft skirts shown in fashion plates. 
Skirts with inlet plaits. The skirt with small tucks at the 
top, Skirt with front and back panel and trimming band 
at bottom between the panels or graduated distance from 
bottom. Skirt with deep flounce at the bottom, finished In dif- 
ferent ways, Four-piece yoke skirt with side plaited flounce, 
Seven-gore skirt with side plaited flounce of irregular out- 
line. Tunic or Overskirt, Eight-gore skirt with four long 
gores and four shorter ones lengthened by plaited sections, 
Three skirt models with side gores irregular in outline. (.25 
Illustrations). 



LESSSON XII. 

Tailor-made Suits, Shrinking the Material, Drafting a 
Semi-Fitting Coat, Adding Collar and Lapels, Drafting a Tight- 
Fitting Coat, Drafting a Tailor's Cushion, The Lined Coat, Cut- 
ting the Canvas, Cutting the Haircloth, Padding Stitches, Sew- 
ing on the Collar and arranging the facing. The Interlining, 
The Sleeve, The Cuff, The Lining. Sleeve Lining, The Unlined 
Coat, Interlining suitable for different materials. The Shawl 
Collar, Finishing the seams. (26 illustrations). 



LESSON XIII. 

Coat Pockets, Different Methods of Applying Pockets, 
Making Fancy Collars, An Evening Coat, Russian Blouse 
Coat, Skirt Portion of the Russian Blouse Coat, Drafting a 
Fitted Belt, The Flat Collar, Fur and Fur Cloth Coats, An 
Evening or Auto Cape. (31 illustrations). 



LEiSSON XIV. 

The Princess, Seven-Gore Princess, Fifteen-Gore Princess, 
Semi-Fitting Princess, Princess Slips, Wrappers, Dressing 
Sacks, Matching Figures and Plaids, Garments for Maternity 
"Wear. (13 illustrations). 



LBSSON XV. 

Infant's First Outfit, Drafting a Front of an Infant's Slip, 
Drafting Back of Slip, Drafting Sleeve of Slip, Cutting and 
Making the Slips, Night Gowns, The Band. The Shirt, Plnnlng- 
Blanket, Drafting Petticoats, Kimonos, The One-Piece Sack 
Infant's Coat, Infant's Cape, Infant's comforts, pillow slips, 
bootees, etc., Little Girls' Clothing, Making Little Girls 
Kimono, Rompers, Russian Dress and Russian Coat, Loose 
Coat, Surplice Dress, Semi-Princess. (32 illustrations). 



LBSSON XVI. 

Men's Apparel. 

Negligee Shirt, Taking the Measurements, Drafting Front 
and Back of Shirt, Shirt with and without yoke in back, 
Drafting sleeve, neckband, collar and band In one, Attached 
collar with turn-over and band in one, Drafting Pocket, How 
to buy and shrink shirting. How to cut and put the shirt to- 
gether, Interllnings of collar, cuffs, etc., Protection neckband. 
Making detached cuff and collar. Plaited shirt. Night Shirt, 
Bath-Robe. (16 illustrations). 



LESSON XVII. 

Drafting Boys' Knee Pants, Front of Pants, Pockets, Front 
Facings, Finishing Seams, Boy's Russian Blouse Suit, Norfolk 
Jacket, Muslin Underwear (feminine), Drafting a Plain Drawer 
Pattern, Method of Applying Insertion. Drafting a Band for 
Drawers, Drafting a Circular Drawer Pattern, Drafting a 
Skirt Yoke, Drafting Tight-Fitting Corset Cover, An Em- 
broidery Corset Cover, A Brassiere, Seamless Corset Cover, 
Two Methds of Making Combination Suits, Applying Insertion 
and lace. Drafting a Child's one-piece Drawers. (30 illustra- 
tions). 

LESSON XVIII. 

Drafting an Eton Coat with a Sailor Collar, Different 
Styles of Eton Coats, A Sack Coat, A Practical Auto Cap, The 
Divided Equestrian Skirt. (14 illustrations). 



LESSON XIX. 

Traveling Outfit. Outfit for a Western Trip, Outfit for a 
Trip to the South, Necessary articles needed on a Trip Abroad, 
Fashions for the Seaside, Fancy Dresses for Costume Parties, 
The Wedding Trousseau, Wedding Etiquette, Graduation 
Dresses, Dress for Mourning Wear. (7 illustrations). 



LESSON XX. 

Embroidery Stitches Most Commonly Used In Dress Decoration. 

How to use a transfer pattern; Illustration and detailed 
description of: Outline or Stem Stitch, Couched Outline, Feath- 
er-Stitch, Ordinary Chain-Stitch, Double Chain. Twisted Chaln- 
Stitch, Split-Stitch, Buttonholing, Wallachian Stitch, Cross- 
Stitch, Seeding or Dot-Stitch, Lazy Daisy or Bird's-Eye-Stltch, 
French Knot, Darning-Stitch, Fagotting. Long-and-Short, Sat- 
in-Stitch, French Stem-Stltch, Flat, Overcast, Back, Arrow- 
Head, Wheat, German Knot, Braid, Twisted-Running Stitch; 
How the foregoing stitches are applied. How to choose thread 
and sillts. Articles necessary in an embroidery outfit, Important 
points In the work. Embroidery combined with net, lace, etc. 
(43 Illustrations). 



LESSON XXL 

Belts, Girdles and Sashes. 

The Straight, Narrow Tailored Belt, Bias Belt. Belts of 
more than one section. Practical and Attractive Tailored Belts, 
Appropriate belts for different forms, Fitting a canvas founda- 
tion. Ribbon Belts, Narrow Crushed Belts and Girdles, made 
either over a boned foundation or featherbone applied to fit- 
ted belt, Crushed Belts of Fancy Ribbon, Attractive Narrow 
Girdle, Practical Girdle for the average form, Shirred Belt 
or Girdle, Plaited Belts and Girdles, Deep fitted crushed Girdles, 
Girdles of Insertion and tucks used in combining a lingerie 
skirt and waist, Suitable Material for Sashes, Appropriate 
Sashes for different forms. Finishings for upper and lower part 
of sashes. Amount of material for Sashes, Belts and Sashes for 
Children. (39 Illustrations). 



LESSON XXII. 

Braiding, Stenciling, Eyelet or Madeira Embroidery. 
Braiding — Kinds of braid for different purposes and ma- 
terials. How to apply wide braids In straight and angular lines. 
How to apply wide braids In curves and loops, Braid combined 
with embroidery, beads, etc., How to select a good braiding 



pattern, Applying coronation braid, Braiding on velvet, satin, 

chiffon and net; Soutache braid applied by machine or hand, 
Soutache braid applied flat or edgewise. How to fit a straight 
braiding pattern around corners and curves. Difference in de- 
signs for dressy and tailored models. Methods of applying 
braiding design to different fabrics, Color of braid to be used. 

Stenciling — Most important points to consider in the work. 
The mechanical part of it, Selecting the designs and colors 
in paints and fabrics. Designing a pattern. Making a stencil. 
Preparing tapestry dyes, Indelible stencil pastes used, Stand- 
ard colors in oil tube paints, How to mix oil paints. Thinning 
medium, How to test colors before applying on the real work, 
Thin and heavy materials suitable for stenciling, making best 
background for any color pigments, Material and pigments 
suitable for stenciled coat sets. How to shape the stencil and 
place the design on a collar and cuff. How to prepare stencil 
and place design on a belt, Brushes needed. How to make a 
stencil pad, How to use stencil in spotting. How to apply paint. 
Method of stenciling thin fabrics, Use of two or more shades 
in same design. Stenciling embellished with embroidery, I^aun- 
dering- stencil work, Stencil outfit. (21 illustrations). 



LESSON XXIII. 
Trlmmlngr* 

Beadins — Materials employed, Shape, color and size of 
beads. Beads suitable for certain materials. How to prepare 
a garment for beading, Different methods used in applying 
beads, Stitch used to simulate beads. 

Straps and Bands — Straight, bias, wide and narrow, How 
to apply, Double Bias bands of striped material, An attractive 
design In narrow strapping, A jacket vest developed in two 
shades of broadcloth combined with braid and embroidery 
with cuff and skirt trimming to match. Design of narrow straps 
Interwoven with each other with instructions for applying. 
Use of braiding designs for strapping, Graduated bands. 

Lace, Shirring, Quilling. 

Trimming Bands — Piped, Shirred, Embroidered on net In 
satin-stitch and darning. Of soutache braid combined with 
French knots. Of shadow embroidery and darning combined 
with beading. Of beading and embroidery on net. Of coronation 
braid combined with darning. French knots or satin stitch, Of 
rope silk and tinsel braid on net, Of rope silk and soutache 
braid on ribbon. Embroidered in satin-stitch. In chain-stitch on 
net with all-over embroidery to match. 

Applique, Medallions, Motifs, Garnitures, Festoons, But- 
tons. (38 illustrations). 



LESSON XXIV. 
Designing'. 

Definition of term, What Is meant by modiste, dressmaker 
and seamstress. Why study of Anatomy is important in de- 
signing, Why the study of Temperament is essential with 
reference to color as well as lines, Seasonableness in colors, 
Aid of Observation in Designing, Conforming Dress to Figure, 

Allsappllcatloii of Lines — Proportional study of the model 
figure, When a figure is short-waisted, When a figure is 
long-waisted. Correct lines for a figure with a short waist 
and long skirt, Correct lines for a figure with a long waist 
and short skirt, Correct lines for various other types, Trim- 
ming and material appropriate for certain types. The proper 
balance of a sleeve, waist and coat, Summary of lines for cer- 
tain types. 

Harmony of Colors: Study of nature for harmony. Origin 
of color. Table of colors, Complementary, tertiary and second- 
ary colors, Warm and cold colors. Tints and casts in colors. 

Blondes: Genuine, Vivid colored, Colorless, Ash, Red- 
haired, sallow. 

Brunettes; Genuine, Creamy, Fair, Sallow, Olive-skinned. 

(21 illustration.^). 



LBSSOX XXV. 
Desigming (Continued) 

Origin of Material — Silk, Wool, Cotton, Linen, Pattern of 

^^aterial, Smootli and Itousli ]\raterials, ;Material for Specific 
Purposes, Material Adapted to Figures, Medium Figures. 

Origin of Fasiiions — Evolution of the Corset, Lingerie. 

RevleTV of Fashions from the Tlilrteenth Century to the 
Present — Summary of Styles from 1820-1911, Styles of a hun- 

(li'pd years past compared witli tlie present da.\'. ( 2r) illustra- 
tions). 

LESSOX XXVI. 

Emhroiilery Stitches: Honeycomb, INIesh. Triangular But- 
tonholing, Lattice or Cat, Turkish or Sliadow, where emjjloyed, 
thread to use, colors to use, designs suitable for, how to trans- 
fer designs on material, detail of working. Shadow Applique, 
material suitable for, transfer of patterns, basting applique, 
appropriate colors, special designs suited to, method of finish- 
ing edges of; French Shadow Work, how the threads are draw^n, 
how to make designs in, detail of; Damask Stitch, Twisted Bars, 
Woven Spider Stitcli. llibbed Wheel. Bermuda Fas^otting, ma- 



terials suitable for. different methods of worl^ing, applying- lace 
or insertion with, empolyed on dainty under slips, shirt waists, 
etc.; Romanian Embroidery, characteristics of, colors used, 
materials suitable for. Embroidered and Fancy Buttons, cover- 
ed buttons with tiny frills or ,plaited silk, lace, etc., in cut 
work, in eyelet and French embroidery, in outlining-, eyelet and 
seed stitch, in satin stitch and French knots, in jewels, or 
beads and embroidery, in ribbosene, clienille, and French knots, 
in various materials and designs, in woven designs — Greek 
cross, ribbed wheel, etc., difference in covering button molds to 
l)e used as trimming- and as fastenings, in jets and gold thread, 
in seed beads, in stenciling, braided, lace covered; Simulated 
Buttonholes, blind, of braid, detail of applying, of cord, bound, 
how and where used; Braided Progs and Pendants, liow used, 
designs for, detail of making. (20 illustrations). 



L,E.«iSO]V XXVII. 

Dre.s.s Aeces.sories — Neckwear, .Tabots, plaited, made from 
embroidered handkercliiefs and lace, of embroidered linen, in 
tailored effect of satin or silk; Neckbands with mannish bow 
and fancy ends, of different width ribbon in two tones, of cord, 
of velvet, of silk decorated in ribbon flowers; Neck Bows and 
Ties, detail of making of ribbon, plaited velvet or silk, em- 
broidered, airship bow; Cravats, when to be worn; Deep Turn- 
down Collars; Plain and plaited Dutch Collars; Fancy Stocks, 
materials suitable for. lined and unlined, boning and finishing-; 
Tailored Stock and Tie; Collar and Cuff Sets; correct material 
for different uses; Fichu, shapes and suitable materials for; 
Sashes, finished in fringe, tassels, or balls, with detail of mak- 
ing, rosettes for sash end; Scarfs, materials for, selecting- the 
lining-, how to line, of filmy and light weight materials, of vel- 
vet and fur, finishing- ends of; Hand-bags, shopping, party or 
opera, velvet embroidered, metallic gauze or cloth embroidered, 
fancy silk, of washable material; Ribbon Bows, important 
Ijoints in making, making- a tied bow, a sewed bow, how to 
calculate amount of ribbon for; Ribbon Accessories, sunflower 
rosette, scalloped rosette. (24 illustrations). 

LKSSOX XXVIII. 

Kibltou Flowers: Materials for, Violets, methods of making 
with different width ribbon, Forget-me-nots, ribbon for 
flowers, material for foliage, detail of making flowers and buds. 
Daisies, Wild Roses, cutting and making petals, detail of the 
bud, putting the flower together, foliage to use; Rosette of 
Rose buds; Double Roses, difference in shape and method of 
putting petals together in different varieties; American Beauty, 
making- tlie center of the rose, petals, putting the seed pod, 
cal.v.\ and petals together; La France, detail of making center. 



petals and buds; i\rareclial Neil, how to vary size of roses; Hat 
IMns; Parasols, general shape and numebr of divisions, how 
to recover an old one, materials used, metliods of decorating": 
Buckles, beaded, shirred silk, of ribbon embroidery and jewels; 
Belts, embroidered, braided and beaded; Accessories for the 
Bride; Accessories for the Graduate. (32 illustrations). 

LKSSON XXIX. 

K<siii|>ineiit For <lio Home Dres.sniaker — Pressing" boards, 
dress forms, skirt gauge, constructing a form for one's own 
use, sewing" machines, fitting up a dressmaking" shop, sewing- 
room hints, pinking", lengtli of children's and girls' skirts, to 
test different materials, methods of increasing trade, how to 
advertise your services, art of packing a trunk. 



XXX. 

lIoiiKeholil Uefiiie.«i. improvement in the mannisli shirtwaist 
draft, improvement in the kimono waist, modifications and im- 
provements, glossary of technical terms. 



THE 

AMERICAN SYSTEM 

OF DRESSMAKING 



A Course of 

Instruction by Mail 

in the 

Science and Art 

of 

Successful 

Dressmaking 

And Ladies' Tailoring 



Lesson No. 1 



The American College of Dressmaking 

(Associated Training Schools, Proprietors.) 

KANSAS CITY, MO., U. S. A. 



Copyrighted 1906, 1907, 1908 and 1909 
by I M. Stelle 

Copyrighted 19/0 and 1911 
b^ Associated Training Schools 



Jill rights reserved. 



Printed in the United States. 



%f)t 



American s^p^tem 
of 2Dre00mafeing 

TAUGHT ONLY BY THE 

American CoUese of BressmaMng 
Kansas Citp, JHo. 

Miss Pearl Merwin, Supervisor. 

Lesson No. 1 

INTRODUCTION. 

For a great many years much has been known of mak- 
ing beautiful tapestries, embroideries and needlework, but 
the great problem of putting the art of plain sewing on 
a scientific basis and making it a part of woman's edu- 
cation is just now being solved. To meet the growing de- 
mand for more practical methods and to supply the long- 
felt want that has been but sparingly met by the use of 
patterns, the American College of Dressmaking has spared 
neither time nor expense in the preparation of these les- 
sons. 

Since in any work a thorough understanding of the 
rudiments is essential, so in sewing the first step is to 
implant those elements and principles which are the foun- 
dation of all needlework, and each part should be so thor- 
oughly mastered that the next becomes easy. Thus we 
have arranged a course of twenty-five lessons so systemat- 
ically that each succeeding lesson is a natural stepping stone 
to what follows. 

Study these lessons carefully and diligently, as much 
depends upon the aptness, energy and spirit with which 
you enter into the work. You cannot become a successful 

Page Three 



dressmaker unless you manifest every interest in the study 
and put forth every effort to carry the work through from 
start to finish without dragging. 

Nor do we want you to rush through with the course 
with a view to finishing in the shortest possible time, but 
rather to study each lesson until you are thoroughly fa- 
miliar with every part of it before taking up another. If 
at any time there are any points that you do not perfectly 
understand to your own satisfaction, write and ask us 
on the special blank furnished for that purpose, and infor- 
mation will be cheerfully and promptly given. 

If at all possible, arrange your work so that a cer- 
tain time, say an hour or two, more or less, each day, may 
be set aside for this special study. Permit no other task 
or duty to take its place. If possible it is well to have 
a little room that you can call your study and sewing room, 
where you can withdraw from other duties and apply all 
your energies to the work in hand. You will find it very 
convenient. Provide yourself with a good tape, yard stick, 
tracing wheel, a sharp pair of scissors and a good pencil. 

RULES. 

1. When sending in report papers for correction and 
grading, be sure to write your name at the top of the 
first sheet and pin the sheets together. Your name is of 
the utmost importance, as oftentimes we receive papers 
with no name on them, and therefore cannot return them, 
as we cannot know who they are from. Out of thousands 
of students we cannot remember where each paper is from 
and what the name is. 

2. For practice in drafting you can get wrapping 
paper cheap at most any store, or newspaper will do. 
For drafts which you send in for our inspection, use the 
drafting paper which we furnish. Also use the ruled 
paper we supply on which to write your answers. 

3. In answering the questions at the close of each 
lesson, do not repeat the question, but number the answer 
to correspond with the question. Leave a blank space 
between your answers, and place number of answers in 
middle of space, beginning your writing close up to the 

Page Four 



printing along the left margin of paper. Either pencil or 
pen and ink may be used. 

4. Write on both sides of the paper, turning the page 
vertically. 

5. Write any questions you may wish to ask on the 
special question blanks. 

6. Have your lessons so thoroughly prepared that 
you will not have to refer to the lesson in order to answer 
a question. 

7. Criticisms and errors will be found marked with 
red ink or blue pencil, and answers checked to show they 
have been carefully read over. 

8. If, after sending in your answers and waiting a 
reasonable length of time, they have not been returned 
to you, kindly write us. They may have been lost in the 
mail, and we ask that you exercise a little patience and 
thought, and not censure us entirely. 

9. Use the return envelope which we furnish. If, 
however, you prefer to use a plain one, write our address 
clearly. 

SEWING STITCHES. 

In sewing, as in embroidery, the beauty of the work 
depends largely upon the smoothness and evenness of the 
stitches. Uniformity in length of stitches and straightness 
of line are of the utmost importance. The mistake is often 
made of using a needle too large and thread too coarse for 
the material, and vice-versa. Do not use a long thread, and 
to avoid knotting and tangling, thread the needle with the 
end that hangs from the spool. After threading, make a 
knot at the longest end by twisting the end of the thread 
once and a half around the first finger of the left hand, 
then roll downward on the ball of the thumb, twisting once 
or twice and slip off and draw down to the end of the 
thread with the middle finger. 

The stitches commonly used are the basting, running, 
overcasting, overhanding, hemming and cat-stitching. 

Page Five 




BASTING — There are two kinds of basting stitches — 
even and uneven. Even basting is made by passing the 
needle over and under the material, making the stitches and 
spaces of equal length. (See 
Fig. 1.) In uneven basting 
the stitch and space are 
not the same length. The 
stitch that is taken up on 
the needle is shorter than 
the space covered by the *^*^- *• 

thread. (See Fig. 2.) 

RUNNING— Running 
stitches are made just like 
the even basting stitches 
only smaller. 

BACK-STITCH — To 
make a back-stitch, take a 
short stitch on the upper 
and a longer one on the 
under side, and bring the 
needle out a stitch in ad- 
vance. (See Fig. 3.) Con- 
tinue by inserting the needle to meet the last stitch, passing 
it under the material and out again a stitch in advance as 
before. Fasten at end by taking two stitches over the last 
one made. 

OVERCASTING— When taking this stitch, the needle 
should always point toward 



Fig. 2. 




Fig. 3. 




3A"Xi?;3Ci 



the left shoulder. Hold the 

material loosely in the left 

hand and make the stitches "" " "^s-^ — — » 

the same depth and keep 

the spaces even between the 

stitches. (See Fig. 4.) 

This stitch is used to keep 

raw edges from ravelling. ~ ~ 

Fig. 4. 

OVERHANDING — The overhand stitch is used for 
seaming two edges together, usually two selvages. Baste 

Page Six 




the two edges together first, then hold the material loosely in 
the left hand, having the edges between the thumb and fore- 
finger, and place the needle in from 
the back and let it point toward the 
shoulder. Overhand with close 
stitches over and over the edge, tak- 
ing up as little of the material as 
possible and making the stitches of 
equal length and depth. (See Fig. 
5.) When the material is opened 
the edge or seam must lie perfectly 
flat and not form a cord. 

HEMMING— A hem is a fold of ^ - ■ — —^^ 

goods turned down and folded over i'i«. r,. 

to conceal a raw edge. Ordinarily turn the hem toward you. 
Crease the raw edge over one-fourth of an inch with the 
thumb and forefinger. To get the hem equal in width, cut 
a piece of cardboard the width the hem is to be, and place 
the end of the cardboard at the turned edge and mark the 
desired width by putting in pins, or with tailors' chalk. 
Move to left and continue marking until hem is marked all 
the way, then fold the material on the marking, and baste it 
down first. The hemming stitch is a slanting stitch and is 
made by holding the hem across the forefinger of the left 
hand and placing the needle in 
it so it will point toward the left 
thumb. Take up one or two 
threads of the cloth and also 
. catch the fold of the hem at the 
same time. (See Fig. 6). It I 
is very important to have the [^ 
stitches slant in the same direc- 
tion and of uniform size. 




Figr. 6. 



CAT-STITCHING — Cat-stitching is making small 
stitches used to hold various edges in sewing, especially 
flannel edges. Place the pieces of the flannel together and 
make a seam. Trim off one edge of the seam and press 
the other edge down to cover the seam. Insert the needle 

Page Seven 



under the flat seam at the upper left hand corner, then 
cross to the edge below and take a small stitch a little to 
the right through all the thicknesses; cross again to the 
top and insert needle as before, taking a similar stitch, 
always pointing the needle to the left. (See Fig. 7.) 
Flannel seams may also be pressed open and each side of 
the seam cat-stitched. (See Fig. 8.) 




i iii. r. Fig. 8. 

FEATHER STITCHING— Feather or brier-stitching 
is often used in fancy and embroidery work as well as in 
sewing. To make this stitch, bring the needle and thread 
up through the material, which should be held over the left 
forefinger. Take a short, slanting stitch, bringing the needle 

out over the thread which 
is held down by the thumb. 
Take the second stitch on 
the opposite side, pointing 
the needle towards the line 
on which you are working. 
Two or more stitches, in- 
stead of one, may be taken 
The beauty of feather- 
stitching depends upon the uniformity of the stitches. 

HEM-STITCHING— Measure from the edge of the 
material twice the width of the hem wanted and with a 
needle or pin pick out one of the threads, being careful 
not to break it if possible. The chief difficulty is in draw- 
Page Eight 




Fig. 9. 



on each side. (See Fig. 9.) 









Fig:. 10. 

than when coarse, 
one-eighth of an 



Hemstitching. 

Turn the hem, 
inch, and baste 



ing the fi r s t 
thread. From 
four to six 
threads s h o u Id 
be drawn, de- 
pending, of 
course, upon the 
texture of the 
fabric, more be- 
ing drawn when 
fabric is fine 
creasing the edge 
it even with the 



threads drawn. Fasten the thread in the hem and take up 
an equal number of the cross-threads. Draw the needle 
through and take one stitch in the hem, being careful not 
to take the stitch too deep. (See Fig. 10.) Repeat this un- 
til hem is finished. This stitch may be worked either from 
the left or from the right, but hem must be held in opposite 
position when working from right to left. 

FRENCH SEAM — This is done by making a narrow 
fe^j^^^^ seam on the right side, then trimming it 

'" "'" closely and evenly; turn the seam on the 

i x^^^ wrong side, crease it smoothly and 

take up another seam about one- 



N 



X fourth of an inch, more or less. 

This must ful- 

'*'-*- ly cover the 
edges of the 
first seam. 



V. 



Figr. 11. 

French .Seam. 



(See Fig. 11.) 



Page Nine 




Fig. 12. 



FELL SEAM — A fell is a seam hemmed down to con- 
ceal a raw edge. It is 

made by trimming off ' _ ^ "^i^; 

one edge of a seam very 
close to the stitching 
and turning the other 
edge under and down 
flat to cover the short or 
raw edge; press hard 
with thumb, then baste 
and hem. (See Fig. 12.) 

FRENCH HEM — First crease a narrow turn on one 
edge of the material, then a second. Hold the wrong side 

towards you and fold 
the hem back on the 
right side and crease 
the material ; o v e r- 
hand the folded edges 
together with very 
short stitches. Open 
the hem and crease 
with thumb. This 
hem is used in hem- 




Figr. IS 



A French Hem. 



ming table linen. (See Fig. 13.) , 

FRENCH KNOTS— Draw the needle and thread 
through the material to the right side and take one very 
short back stitch. Hold the needle in the right hand, and 
with the left take hold of the thread near the material and 
twist the needle around the thread two 
or three times. (See Fig. 14.) Then 
put the needle down through the mater- 
ial close to the point at which it was 
brought up. Hold the thread firmly 
near the cloth so that it will not un- 
twist or knot while being drawn 
through. The size of the knot will de- 
pend upon the number of times the 
thread is twisted around the needle. 
These knots make a very effective trim- 
ming on dresses for children. They are 
used chiefly in embroidery work. 

Page Ten 




Figr. 14. 



BUTTONHOLES. 

A buttonhole is an opening or slit cut in a garment to 
receive a button. It is always made on double material 
(except in flannel) and frequently a third ply is put in to 
give it additional strength. 

One of the most noticeable faults seen in buttonholes is 
that resulting from cutting the slits so that there is a break 
in them, which causes the edges to stand apart and pro- 
duces an uneven or "jagged" edge. This fault is frequently 
caused by the use of dull scissors, or from the habit of 
cutting a buttonhole with two or more clips of the scissors. 
And again, it may be due to the slipping of the fabrics, 
which are very thick, soft or elastic. 

If one hasn't a good pair of buttonhole scissors in her 
possession special care will need to be taken in measuring 
and marking the buttonholes before cutting to get each 
exactly the same. The diameter and thickness of the button 
will determine the size of the buttonhole, it being cut a 
little larger than the button it is to receive ; the thick button, 
of course, requires more room in proportion to its diameter 
than the thin. 

Buttonholes are generally cut one-fourth of an inch 
from the edge of the garment, the spacing between them 
being controlled by fashion, the size of the buttons and by 
the looseness or tightness of the garment. They are usually 
cut in a horizontal position, but on shirt waists are fre- 
quently cut vertically. First mark the place for the top 
and bottom buttons and then divide the space between 
equally for the number of buttons. If one is inexperienced 
in buttonhole making, it is well to practice cutting them 
on a piece of material for that purpose until the buttonhole 
can be cut exactly the size intended, each a uniform distance 
from the edge of the material and from each other, before 
cutting in the material in which they are to be worked. If 
they are cut with buttonhole scissors, set the scissors ac- 
cording to the length of buttonhole required, testing it on 
the practice material, cutting from the notched part of the 
blade to the point of the scissors. In some wash materials 
the buttonholes may be marked by the use of a piece of card- 
board and tracing wheel, but where the marking cannot be 
made distinct, in this way, use lead pencil or tailors' chalk. 

Page Eleven 



The cardboard for marking a horizontal buttonhole should 
be the length of the buttonhole plus the distance it is to be 
from the edge of the garment and as wide as the buttonholes 
are to be apart, having a mark on either edge of it indicat- 
ing where the buttonhole is to begin. If a buttonhole scis- 
sors having a gauge is to be used, the length of the button- 
hole need not be marked. It will be sufficient to mark the 
starting point only and the line showing the exact 
direction of the slit so that if the buttonholes are horizontal 
they will be perfectly parallel, or if vertical, they will be 
in a line with each other. For a vertical buttonhole see 
that both ends are marked exactly the same distance from 
edge of garment before cutting. In cutting buttonholes in 
front of neck-band and cuffs, an allowance of about one- 
eighth of an inch should be made in the slit as the buttons 
will take up that much. That is, make it one-eighth inch 
nearer to the edge of garment than where no allowance for 
buttons is required. 

When making buttonholes in thick cloth, baste the 
cloth smoothly where each buttonhole is to be made, then 
put two rows of machine-stitching or back-stitching the 
length desired and cut between the rows. 

One should keep a piece of undisolved glue with their 
sewing things and when making buttonholes in wiry goods, 
mark them, moisten one edge of the glue and rub over the 
place for buttonhole on both sides before cutting. When 
dry the glue will hold goods firm so they will not fray while 
working. 

When working buttonholes in a lace yoke or waist, 
first baste small squares of lawn under each place where 
the buttonhole is to be worked. After working, cut away 
the surplus lawn around the buttonholes, leaving them firm 
and strong. Also, put small squares of the lawn under each 
button. 

A buttonhole should always be worked from the right 
side of the garment and on the right-hand side of women's 
garments. 

On woolen materials, work the buttonhole with button- 
hole twist, being careful to have the twist one shade darker 
than the goods, as it always works lighter. 

Page Twelve 



Cut and work one buttonhole at a time, overcasting it 
immediately after it is cut. Begin without a knot, taking 
two or three running stitches on the wrong side, then hold 
the buttonhole along the forefinger of the left hand, with 
the edge of the garment towards the wrist. Begin the 
buttonhole at the lower right-hand side of the slit, bringing 
the needle up from underneath close to the edge. Overcast 
from this point on both sides of the buttonhole, taking the 
stitches not more than three or four threads deep or one- 
sixteenth of an inch, but not any deeper than necessary to 
hold the threads, and in the proportion of about seven 
overcastings on each side of a three-fourths-of-an-inch 
buttonhole. 

In light weight materials to hold the thicknesses to- 
gether and also as a guide in the depth of the stitch in 
making the buttonhole, a running stitch is made parallel 
with the slit on either side as far from it as the depth of 
the buttonhole stitch. Be careful not to draw the ma- 
terial. 

Three-fourths of a yard of thread is the allowance for 
a button-hole of ordinary size. The thread should be long 
enough to complete the buttonhole, but if it is found to be 
too short, fasten it on the wrong side. A new thread is then 
fastened in the same way and brought up through the last 
purl. Proceed with the buttonhole as though a new thread 
had not been necessary. 

Begin working the buttonhole at the corner of the 
starting point. Insert the needle through the hole to the 
wrong side bringing it halfway through just below the run- 
ning stitch with the needle pointing toward you; take the 
double thread at the eye of the needle and bring 
it under the point of the needle from right to 
left. Draw the needle out through the loop 
thus formed and pull the thread up at right 
angles to the buttonhole, which will make a 
purl on the edge. Or the thread may be thrown 
1^^^ around to the left, with a circular movement, 
to form this loop, before inserting the needle 
Fig. 15. |j^ ^YiQ fabric. The next stitch is done in the 
same way. Care should be taken to make each stitch 
exactly the same depth and the spacing of the stitches uni- 

Page Thirteen 



form throughout. The end of a buttonhole nearest the 
folded edge is generally rounded; the stitches presenting 
the appearance of the spokes of a wheel or an eyelet hole. 
(See upper buttonhole of Fig. 15.) After rounding this 
end, work along the opposite side until you are directly 
opposite the first stitch. This last end may be finished 
similar to the first by making it rounding, taking the needle 
down through the purl edge of the first stitch. (See upper 
buttonhole of Fig. 15), or it may be barred by taking a 
couple of stitches across the end on the right side of ma- 
terial, extending them the full width of the buttonhole 
stitches. (See lower buttonhole of Fig. 15.) 

In working vertical buttonholes make both ends the 



same, either 
barred. 



both curved as in Fig. 15 or both ends 



In making buttonholes in heavy fabrics, strand or 

stay the edges as shown in 
Fig. 16 instead of using 
the running stitch and then 
proceed as previously in- 
structed. 

The tailored buttonhole 
has a round end or eyelet 
to accommodate the shank 
of the button (See Fig. 17) 
and is the most satisfact- 
ory in all respects for 
heavy cloth. Mark the po- 
sition of buttonholes, baste 
the cloth smoothly where 
each is to be made, then 
put two rows of machine- 
stitching or back-stitching the length desired and cut be- 
tween the rows. This "eyelet is made a fixed 
distance from the edge of the garment. If ai 
punch is not obtainable, the end may be clipped 
out with the scissors. See top buttonhole Fig. fis. it. 
18.) The second buttonhole shows how to trim out after 
clipping. 

The buttonhole should then be stayed with a cord made 
Page Fourteen 




Fig. 16. Making a 
Buttonhole. 










of two or three strands of twist, or linen thread twisted 
together and waxed. (See lower 
buttonhole Fig. 18.) An end of 
this thread is secured at the back 
end of the buttonhole and the other 
end is wrapped once or twice 
around the fore-finger of the left 
hand and held out straight and 
just back of the edge of the button- 
hole, the stitches being worked 
over it so that the worked edge 
will be firm and distinct. When 
the eyelet is reached make the 
slant of stitch such that it will 
form a corner at the beginning of 
the eyelet, it being reversed at the 
opposite side or end of eyelet to 
produce a similar corner. 

The back end of a tailored 
stitched which 




>-a 



Fig. 18. 

buttonhole may be bar- 
is done by placing two or three stitches 
across the end of the buttonhole quite close to it. Then the 
needle is brought up through the fabric at one end of these 
bar stitches preparatory to covering them with little cross 
stitches which is done by putting the head of the needle 
under and over the stitches until the other end is reached, 
drawing the thread tight enough to keep it perfectly 
smooth. The head of the needle is used in taking the stitches 
in covering the bar instead of the point as it can be more 
quickly done. 

After the buttonholes are worked, their edges should 
be basted together with cotton using an over-and-over 
stitch, catching the edges just back of the purling. Then 
press unde r a dampened cloth (as all buttonholes should 
be, when the goods will permit) , and before they are dry a 
stiletto should be put into each eyelet, until the opening be- 
comes perfectly round. Leave the basting in until the gar- 
ment is ready to be worn. 

EYELETS — An eyelet is a round hole made and 
worked in a garment either for a button or cord, the latter 
being used when the garment is fastened by lacing it up. 
The eyelet is made with a stiletto or bodkin. Hold the hole 

Page Fifteen 



over the forefinger of the left hand. Overcast it closely 
with buttonhole twist, drawing the stitches firm to tighten 
the edge of the hole and to keep it open. Use the button- 





Flgr. 10. Fls. 20. 

hole stitch and instead of drawing the purl to the edge of 
the eyelet, let it come to the outside, as the purls would soon 
fill the eyelet up. (See Fig. 19.) However, the eyelets may 
be made large enough at first to allow the purls to come to 
the edge, as in a buttonhole. (See Fig. 20.) 

LOOPS — A loop is used to take the place of an eye. 
Mark the places where they are to come opposite the 
hooks. Insert the needle from the wrong side and bring 
it up through the material. Make a bar 
of three stitches one over the other 
about one-fourth of an inch long. Work 
these closely with the buttonhole stitch 
from left to right, letting the purl come 
over the lower edge of the loop; fasten 
on the wrong side. (See Fig. 21.) 

SEWING ON BUTTONS— Use a 
coarse thread taking two or three stitches to secure the end 
of thread and bring the needle up through the material and 
into one hole of the button and draw it down in place. Lay a 

pin across the button and 
work the stitches over 
the pin. If there are 
four holes in the button, 
turn the pin a little and 
sew across the other 
P,g. 22. holes. (See Fig. 22.) 

After the button is sewed on firmly, remove the pin and pull 

Page Sixteen 




Fig. 21. 




the button from the material as far as possible; wind the 
thread around the button several times and pass the needle 
to the wrong side and take several stitches to fasten the 
thread. 

BUTTON MOULDS— To cover button moulds, cut a 
circular piece of the material and gather it around its edge 
by a running stitch and draw the thread up, and place 
the mould inside of this. The piece must be cut small 
enough at first so that its edges will not quite meet after 
the mold is put in or it will look too bunglesome. Over- 
hand the edges together and fasten thread securely. A 
small facing may be whipped on to conceal the edges and 
stitches. 

SMOCKING. 

Smocking is drawing fullness together for ornamental 
effect. There is quite a little variety of de- 
signs, such as diamond, honeycomb, herring- 
bone, etc. Many of the fashion magazines sell 
patterns of the position of the dots used in 
taking up the stitches in smocking. It is very 
essential to begin the work accurately. Fig. 23 Fig. 23. 
shows the marking and spacing for the stitches, and Fig 
24 gives the preliminary lines for basting stitches by means 
of which the material is gathered. These bastings are after- 
ward drawn out. Use a tape measure or 

(^ __^ woolen materials may be marked with chalk ; 

Fig. 24. white material with lead pencil. Make as 
many dotted lines as the depth of the smocking will re- 
quire. The average yoke requires about fifteen dotted 
lines. The width allowed for the work should be about 
four times that required when the smocking is completed; 
thus, for a piece ten inches wide about forty inches would 
be necessary. Remember that the success of smocking de- 
pends primarily on the gathering threads being run per- 
fectly straight, each stitch being exactly the same length, 
so that the plaits will lie evenly when gathered up. 

When the marking is finished fill a needle with a long 
piece of heavy colored thread, being careful to tie a knot 

Page Seventeen 



the square and mark every three-quarter 

inch space along a straight line; for finer 

■ ^ . work, every quarter inch space. Silk and 





at the end, and pass the needle in at one dot and out at the 
next and so on until the gathering thread goes the whole 
length of the dots. Again thread the needle 
and run along the second row, stitch under 
stitch. When all the rows are basted in this 
manner, draw up all the threads lightly, ad- 
just the gathers and fasten the threads on pins 
as shown in Fig. 25. These gathers become 
small tucks or plaits. The work is now pre- 
pared for smocking. For these stitches use 
silk on silk material and cotton for wash ma- Fig. 25. 
terial using a double thread. 

The simplest of the smocking stitches is the rope stitch 
shown in Fig. 26. Each plait it taken up 
by the needle separately, the thread thrown 
up each time. Do this stitch from left to 
right. 

Fig. 27 is the diamond dfesign. It is 
the rope stitch carried out in the form of a 
diamond. Make three rope stitches, passing 
the needle through each plait, each one a little above the 
other in order to give the slanting line up. Draw the 
thread down at each stitch, then make three downward 
stitches, each a little below the previous one, 
and draw the thread up at each stitch. Con- 
tinue this to the end of the line, which form 
a series of half diamonds. Complete this 
by making three downward and three up- 
ward stitches for each diamond in the same 
manner for each lower half of the design 
as the upper row was made. 

Fig. 28 is the honeycomb pattern. Having the gather- 
ing arranged and drawn up, hold the material the right 
side towards you, thread your needle with silk and bring 
it up from the back to the front at the right hand top 
corner in the first plait and exactly over the gathering 
thread, catch the next plait to this by a stitch from right 
Page Eighteen 



Fig:. 26. 




Fig. 27 




FIs. 28. 



to left through each, work an- 
other stitch through both plaits 
then insert the needle in the same 
place but in the second plait only, 
and bring it out in the same plait 
over the second gathering thread, 
catch the third plait only, and 
bring it out in the same plait over 
the first gathering thread, and 
proceed in this way all along, 
working a stitch alternately in 
each row; two plaits are taken to- 
gether in every stitch, and the last 
plait of one stitch becomes the first 
plait of the next; in going from 
one line to the other, be careful always to slip the needle 
lengthways up and down, never across. Work the third 
and fourth lines as you have already worked the first and 
second, and continue till the requisite depth is attained. 

Few people realize 
how easily hem-stitching 
can be done with any 
lock-stitch sewing ma- 
chine with the aid of 
blotting paper. Curved 
seams over the shoulders 
and around the hips can 
be managed quite as well 
as the straight seams. 
To do successful work, 
the blotting paper must be cut into strips three-quarters 
of an inch wide and with the same curve as the material. 
Four of these strips are placed together one on top of the 
other between the two edges of material to be joined. (See 
Fig. 29.) 

For heavy linen or pique No. 70 crochet cotton is used 
on the sewing machine for hemstitching. After basting 
the blotting-paper between the edges, stitch, using the 
crochet cotton. Make the stitch on the machine as large as 

Page Nineteen 




Fig. 20. 




Fig-. 30. 



possible, being careful 
the tension is not tight. 
The seams to be hem- 
stitched are then stitched 
three-eighths of an inch 
from the edge of the ma- 
terial as one would do 
for an ordinary seam. 
Afterward take out all 
the basting threads and 
carefully tear away the blotting-paper. If each fold is torn 
separately, it comes away easily, leaving the machine stitch- 
ing loose. The raw edges on each side of the stitching are 
then turned back on the wrong or under-side and stitched 
close to the edge with one row of fine machine stitching. 
The raw edges can then be trimmed off close to the stitch- 
ing or they can be fastened down with a row of feather- 
stitching or French knots, as shown in Fig. 30. 

Fancy stitches made by hand are always popular and 
stylish. If they are used on silk or woolen goods they 
should be worked with silk in color to match the material. 
A good effect can also be obtained by working the stitches 
in some contrasting color. For instance, navy blue or black 
would look well when worked with white. The stitches can 
also be worked with mercerized embroidery cotton on gar- 
ments of wash fabrics. 

For any of the following stitches, hem or turn over to 
the wrong side each edge of the material to be joined. Baste 
each piece firmly on folds of newspaper with a half-inch 
space between the two. Two folds of newspaper or wrap- 
ping paper are adaptable for this purpose. 

Fig. 31 illustrates a sheaf-stitch. Thread a crewel 
needle No. 6 with a long strand of well-twisted silk. 
Crochet silk or buttonhole twist is the most suitable. Take 
an eighth of an inch stitch first on the edge of one hem, 
then on the other edge directly across the paper. Work from 

Page Twenty 




one edge to the other as 
shown by needle No. 1 in 
Fig. 31. For the second 
stitch take another long 
thread, and to begin, tie 
the end around the cen- 
ter of four strands of 
the horizontal stitches 
already made. Insert 
the needle around the 
next four threads and ^*^- ^*' 

tie a knot on top without breaking the thread in the needle, 
and continue with the next four and so on until finished. 
(See needle No. 2 in Fig. 31.) The bastings are carefully 
drawn out and the work removed from the paper. 

Another very pretty stitch suitable for joining seams 
is shown in Fig. 32 and known as the herring-bone stitch. 
This stitch is worked with the same kind of silk as the one 
previously spoken of. For this stitch there are three sep- 
arate strands of silk used instead of two which makes it a 

little stronger and more 



suitable for heavier ma- 
terials than the sheaf- 
stitch. When the mater- 
ial is basted to the pa- 
per, the needle is always 
slipped under the edge 
of the hem on the lower 
or left-hand side. Now 
take a stitch in the op- 
pig. 32. posite hem, twisting the 

needle around the strand just made, and bringing it back 
to the starting point. (See needle No. 1 in Fig. 32.) Slip 
the stitch for the next strand and repeat. Now take an- 
other long strand of silk for the under stitch of the center 
bar of stitching. (See needle No. 2 in Fig. 32.) For the 
upper row, another strand of silk is taken to whip the 
center bar between each strand as represented by needle 
No. 3 in Fig. 32. 

Fagotting is another simple stitch often used for trim- 
ming garments. It is very effective for joining rows of lace 

Page Twenty-One 




or ribbon in yokes and 
sleeves. It is worked 
somewhat in the same way 
as feather-stitching with 
this difference: the needle 
is always inserted from 
the under side of each 
edge of the hem, instead 
of on top as in feather- 
stitching, thus giving a 
double twist which makes 
it firmer. (See Fig. 33.) 




Flgr. 33. 




Flgf, 34. Stitching on 
One Side of Seam. 



SEAMS. 
There are several different methods of finishing the 

seams in tailored suits which tend to further ornament or 

decorate in addition to any other trimming that may have 
been used. They may be classified as 
the single stitched, double stitched, 
broad seam stitched, welt seam, 
double stitched welt, open welt or 
tucked seam, bound open welt seam, 
slot seam, strap seam, imitation 
strap seam, raw-edge lapped seam, 
and cord seam. Always remember 
when making a coat suit that the 
same finish selected for the skirt 

should be carried out in the coat as well. 

The single stitched seam is obtained by first stitching 

an ordinary seam, then press open and stitch again with one 

row of stitching on one side of the seam. (See Fig. 34.) 

The double stitched seam has a row of stitching on both 

sides instead of on one. 
In the broad 

seam stitched, the 

seams are cut wider 

so that after the 

double stitching is 

in, an additional 

stitching may be 

added on each side ^^^- ^^- "'"'""• '**«"» ^titone«. 

one-half inch from the center. (See Fig. 35.) 

Page Twenty-Two 




The welt seam is obtained by cutting wide seam-turn- 
ings and after being 
stitched in the ordinary 
manner, is pressed to 
one side. Then an orna- 
mental row of stitching 
is placed from one- 
fourth to three-eighths 
of an inch from the 
seam. If the material 
is of heavy weight the 
edge of the upper seam 
may be cut away up to 
this row of stitching to 
(See Fig. 36.) 




Fig. 36. 
Welt Seam. 




avoid too many thicknesses. 

The double stitched welt is made just like the welt 
with the exception that 
there is another row of 
stitching on the side of 
the seam about one- 
eighth of an inch from 
the seam. (See Fig. 
37.) 

The open welt or 
tucked seam is basted 
in a regular seam, both 
edges pressed to one 
side. The ornamental 
row of stitching is then 
put on from one-fourth 
to one-half inch from 
edge. The other edge is 
not stitched but is left 
free, and therefore re- 
resembles a tuck. This 
should be pressed very 
flat. (See Fig. 38.) 

The bound open-welt 

Page Twenty-Three 



Fig. 37. Double 
Stitched Welt. 





Fig. 39. Bound Open AVelf. 



stitched to 



is made by binding the raw edge of the seam with grosgrain 
ribbon, which may be purchased for this purpose at any de- 
partment store. The seam is lapped well over the opposite 
piece and stitched as near the cording of the ribbon as pos- 
sible. (See Fig. 39.) 

A slot seam is made by 
joining the seams as for 
an ordinary finish. This 
must be done with a fine 
basting thread or sewing 
silk and the seam press- 
ed without being stitch- 
ed. An under strip of 
the material is cut about 
one and one-fourth 
inches wide and placed 
directly over the center of the seam at the back ; this is 
the garment from the right side three- 
eighths of an inch each side of 
the seam. Remove the basting 
which will free the pressed 
edges. Raise them from the 
under strip and stitch each 
edge and then press. (See Fig. 
40.) This is a double stitched 
slot seam. A single stitch is obtained by leaving off the 
final stitching on the double stitched slot seam. 

For the strap seam, wide seam turnings are allowed 
and the seam is stitched and pressed. The strap is usually 
about five-eighths of an inch wide when finished, and the 

center is placed di- 
rectly over the seam. 
The wide turnings 
underneath extend 
beyond the stitching 
of the strap so as to 
gradually decrease the 
thickness. (See Fig. 
41.) Where the mate- 
rial is heavy cut away 
the upper edge of 
seam as described in 




Flgr. 40. Double 
Stitched Slot Seam. 




Fig. 41. 
Strap Seam. 



Page Twenty-Four 




Fig. 42. 
Imitation Strap Seam. 



the double stitched welt seam. The straps may be made 

on the length of material, but far better results are 

obtained by making them on 
the bias. For a strap five- 
eighths of an inch in width, cut 
as many strips of cloth as will 
be required, each one one and 
one-fourth inches wide. Join 
them as described on the next 
page and press the seams open, 
but when basting the straps on 
the seams of the coat or jacket, 

avoid bringing any of these joinings in a prominent place. 

It would be preferable and denote better workmanship 

to waste a few inches 

and discard the piece 

with the seam in it, if 

necessary. 

An imitation strap 

seam is made by lapping 

the material as much as 

desired, then turning in 

the edge on both right 

and wrong side and 

stitching flat. (See Fig. 

42.) This is used ex- 
tensively on u n 1 i ne d 

coats and skirts. Fig. 43. Raw Cdse Lapped Seam. 

The raw-edge lapped seam is used solely for very 
heavy material which is not likely to fray. The raw edges 
are lapped three-fourths of an inch and the stitching 

placed directly on the 
edges. (See Fig. 43.) 

A cord seam is illus- 
trated in Fig. 44. The 
seam's edges are both 
pressed to one side and 
an ornamental row of 
stitching added on the 
right side, far enough 
Page Twenty-five 






Figr. 45. 

Marking Bias 

Strip. 



from the seam to form a raised edge, which will appear 
as corded. 

BIAS BANDS AND FOLDS. 
Bias bands, folds and ruffles 
are used so extensively in 
dressmaking that it is very de- 
sirable to know the best and 
quickest way of cutting and 
making them accurately. Spread 
the material of whatever the 
bands are to be made smooth 
upon a table, and mark up four 
inches from the lower left-hand 
corner on the left selvage, and 
also mark four inches to the 
right of the left corner. Using 
a yardstick or ruler, draw a 

line with chalk or pencil from 

one mark to the other. From 

this line mark the desired width 

for the bias strips and draw 

a line through these marks. 

Continue marking off from last 

line made each time until you 

have a sufficient number marked 

off. (See Fig. 45.) Cut through the lines and join the 

ends together neatly and accurately. Always join the right 

end of one piece to the left end of another piece. Make the 

seams diagonally, 7iot vertical. (See Fig. 46.) 

Bias folds are used in many instances and for many 
purposes and are made of various widths. The milliners' 
fold is made by turning the top edge over one-half inch. 
The lower edge is then turned under a seam's width and 
is brought up to within one-fourth or one-eighth of an 

inch of the 

top edge. 
(This is 
decided by 
the size of 
the fold 
being 




FIs. 46. 
Diagonal Joining 
for a Bias Strip. 




Pig. 47. 
Narrow Stitched Milliners' Fold. 



Page Twenty-six 




made. When several folds are put on a garment 
the lower ones are made plain by folding each through the 
center lengthwise, bringing the two raw edges together. 
Turn the raw edges in together toward the in- 
side in a narrow seam and baste along close to the edge. 
The milliner's fold is put on at the top by slip-stitching it 
on. W h e n 
making 
stitched mill- 
iners' fold the I 
stitching 
should come 
in center of 
this fold as _ 
shown in Fig. k;*^*-'^' -^ 

47. FIs. 48. making: Strap lor Seam. 

To make straps for a coat cut them about one and one- 
fourth inches wide on the bias ; fold evenly lengthwise, with 
the edges together, right side out and overhand the two raw 
edges very loosely with coarse even stitches. (See Fig. 
48.) See that the row of overhanding comes in the middle 
of the strap and press well on the overcast side. Baste it 
over the seam on coat and stitch near edge through both 
strap and coat. 

When making crepe folds, cut them straight across 
the goods, if possible, as this will show the crinkles run- 
ning diagonally. When cut bias the crinkles will run 
straight and the effect is not so good. 

Silk folds are usually cut bias, and a home-made ap- 
pliance by which they may be accurately and quickly 

made is shown in 
Fig. 49. Cut the 
bias strips twice the 
J'^is. 4». width of the desired 

fold plus one-fourth inch, stitch them together, making the 
seams at the selvages, and press the seams open. Cut a 
short strip of cardboard the width of the completed fold. 
Wrap around it two or three times a piece of thin card — a 
postal card answers admirably — and paste the edge down. 
Lay it under a book or an iron until the paste is dry, 

Page Twenty-seven 





then remove the piece of thick card that is inside, and in 
place of it run the silk, folded, with raw edges meeting 
in the center. Press with a warm iron over a damp cloth, 
pushing the card along, forming and pressing the fold at 
the same time, using straight end of iron. 

CROW FOOT. 
To make a crow foot, first make a perfect 
triangle, the size you desire, then at the center 
of each of its sides make a dot a trifle inside 
(See Fig. 50.), and connect these dots with 
the corners on same side of triangle. Cut 
Fig. 50. along these lines and lay it on the garment 
just where the crow foot is desired, outlining edges care- 
fully with tailors' chalk. For working use coarse button- 
hole twist or twisted embroidery silk, which is generally 
the same color as the material. However, black is very 
much used on dark shades. The stitches should be taken 
as close together as possible without overlapping, so that 
the work will be smooth and even. 

The crow foot is begun by 
bringing the needle up just 
a trifle to the left of one of 
the points, (See A, Fig. 51), 
and turning work so that B 
will be at the top, take a 
stitch as small as it can be 
taken across the point at B, 

turn work as before so that C will be at top and take a 
stitch similar to that at point B. Next take a stitch at 
the right of A coming up on dotted outline 
and as close as possible to the stitch from A to 
B. Continue in this way until entire outline 
is filled in, keeping just outside of outline and 
always outside of the made stitches. (See 

Fig. 52. Pig 52.) 

MARK STITCHING OR TAILORS' TACKS. 
Tailors' tacks are used by tailors and dressmakers 
when basting two sides of a garment so as to have them 
both exactly alike. This requires much less time than 
basting each side separately. It is generally employed 
after cutting, when one si'^e of the material has been 

Page Twenty-eight 






marked with tailors' chalk and the seams and other in- 
dicating marks of the forms are desired exactly alike 
on both. The stitches pass through both thicknesses and 
if the edges are kept even it is not possible for the lines to 
deviate. It is made as follows: 

With a double thread of basting cotton baste through 
both thicknesses of cloth, using one long and two short 
stitches, leaving the long stitch loose enough to form a 
loop under which the finger may be placed, (See Fig. 53) 

and repeat all around 
through the chalk marks. 
Then take hold of 
the two edges of the cloth 
and gently separate 
them, so the stitches 
which hold them to- 
gether can be plainly 
Pig. 53. seen, and cut the stitches 

in the center as they show between; this will leave the 
threads in each piece of cloth which will represent the sew- 
ing line, and both sides will be found marked exactly alike. 
In woolen goods the thread should be waxed. 

CORDING. 

Corded piping is made of bias bands about three-fourths 
of an inch wide, with a cord placed in the center and 
the goods folded down over it and basted close up to the 
cord. Rows of plain cording are made by folding over 
the material at the desired places, putting the cord in 
position and sewing along with short stitches close to 
the cord. Make as many rows as you wish at regular 
intervals. The cord may be any size desired. Be very 
careful not to let it twist when basting it in. 

To make shirred cording first mark the distance 
apart the rows are to be, if more than one row. Then 

put the cord under the ma- , ^ Mj| sXjj " a- 

terial at each line of mark- ^^^^^^B^^:i^''^"'^^^^^^^w'i^ 

ing and sew them as in plain ~ 

cording, being careful not to ^ 

catch the cord. The desired 

number should all be run in, 

then drawn up together, be- 

Page Twenty-nine 



ing sure that the cords are drawn up evenly at the same 
time. (See Fig. 54.) By the use of a corder this may be 
done on the machine and much time saved. 

SHIRRINGS. 

There are many different styles of shirring, the one 
most commonly used being the straight plain shirring. 
If more than one row is used, they should all be marked 
first. If the material is too thin and flimsy to be marked, 
run a colored thread in, which can be removed after the 
shirr thread has been put in. Do not use very fine 
thread or silk, because it will knot and break. Make a 
large knot at the end of the thread before starting, so it 
will not pull through. Leave a long thread at the end of 
each row. 

TUCKED SHIRRING. 

This is made by making a tuck any width desired and 
shirring it. They may be put in singly or in clusters. 
Great care must be exercised in the marking of these 
tucks, as any unevenness whatever in the shirring mars 
the effect entirely. Tucked shirrings of this character 
can be shaped to accommodate almost any pattern by 
drawing up or letting 
out the threads. If 
necessary, the thread 
of the first tuck may 
be much shorter than 
the last, if a curve is 
being formed. Tuck- 
ed shirring somewhat 
resembles cord shirring, only it has a softer appearance. 
(See Fig. 55.) 

FRENCH SHIRRING OR GATHERS. 

These are made by taking a succession of small 
stitches on the under side and longer ones on top. These 
stitches must all be kept the same length as when begun 
to insure evenness. Three rows are usually made and 
the stitches in each row must come one below the other 
to draw up properly. This method is particularly desir- 
able for heavy material and is used when adjusting a 
quantity of material to a comparatively small place, as is 
sometimes used at the back of skirts. 

Page Thirty 



• ji'^-iri'f.>-J:^^'j:^-^.i.-^i;f. 



m ItiVi i 1» ■' if fi Al m^ 



Fig. 55. 



RUCHINGS. 

Ruchings are made fuller than ruffles and before they 
are gathered they should measure about twice the length 
of the space they are to cover. They may be cut straight 
or on the bias. When making them of chiffon or net, cut 
them on the straight. Cut as many strips as desired and 
join them with seams. They should be about two inches 
in width. Fold the top edge over one-fourth of an 
inch, bring the lower edge up to the center of the strip 
and fold the top edge, which has been turned under, over 
it. This brings both edges to the center so that no 
raw edge remains. Shirr through the center and the 
ruche is formed. 

Single ruchings of silk or woolen materials are cut 
in bias strips about two inches wide, seamed together 
and pinked on each edge, and either plaited or shirred 
through the center. In cotton goods they are hemmed on 
each edge with a narrow hem. 

There is also a three-tuck ruching which is made 
by cutting the strips six or seven inches wide and seam- 
ing them together. Then fold through the center length- 
wise and mark along this fold. Open it again and bring 
the top edge to within one-half inch of the center fold or 
mark; also bring the lower edge up to within one-half 
inch of the fold. Fold through the center again where it 
was folded at first and shirr it along one inch from the 
center fold. When the shirr is drawn up there will be 
a ruche with three tucks equal in width. 



QUESTIONS. 

1. What stitches are most commonly used in sewing? 

2. Describe each or send a sample of each stitch, in- 
cluding all the stitches up to the French seam. 

3. Either describe how the French seam, fell seam, 
French Hem and French knots are made, or send a sample 
of each. 

4. (a) Why is it important that a buttonhole be 
marked and cut evenly? 

(b) Upon what does the size of the buttonhole 
depend ? 

Page Thirty-one 



5. Explain in full the marking and spacing for but- 
tonholes. 

6. Explain fully the cutting and making of a plain 
buttonhole. 

7. Explain the cutting and making of a tailored but- 
tonhole. 

8. How is a buttonhole bar-stitched? 

9. (a) Either describe how eyelets and loops are 
made, or send in a sample of each, (b) How are buttons 
sewed on? (c) How are button moulds made? 

10. Describe fully the marking and gathering for 
smocking. 

11. Either describe or send in a sample of the diamond 
and honey-comb designs. 

12. How may hem-stitching be done on the machine? 

13. Either describe or send in samples of the sheaf 
stitch, herring-bone stitch and fagotting. 

14. Name the different kind of seams that may be 
used for finishing a tailored garment. 

15. Describe or send in a sample of each. 

16. (a) What is the best and quickest way of mark- 
ing and cutting bias bands and folds? (b) How are they 
joined together? 

17. (a) How is the milliners' fold made? (b) A 
strap for a seam? (c) How are silk folds made? 

18. (a) How is a crow foot made? (b) Tailors' 
tacks? 

19. (a) How is a corded piping made? (b) Shir- 
red cording? (c) Tucked shirring? 

20. (a) How are French gathers or shirring made? 
(b) Ruching? 

(You will note that in these questions in the first lesson we have 
left it to the student's choice as to whether she gives a description of 
the stitch or exercise asked for orsend in a model or sample of her 
own handiwork. Either way of showing that you understand the 
work will be satisfactory, but the student who does both will be 
demonstrating the fact that she is getting a thorough grasp of the 
subject both in theory and in practice.) 



Page Thirty-two 



THE 

AMERICAN SYSTEM 

OF DRESSMAKING 



A Course of 

Instruction by Mail 

in the 

Science and Art 

of 

Successful 

Dressmaking 

And Ladies' Tailoring 



Lesson No. 2 



The American College of Dressmaking 

(Associated Training Schools, Proprietors.) 

KANSAS CITY, MO., U. S. A. 



Copyrighted 1906, 1907, 1908 and 1909 
by J. M. Stelle 

Copyrighted 1910 and 191/ 
b^ Associated Training Schools 



^11 rights reserved. 



Printed in the United States. 



%\)t 



Qimtximn s>v^ttm 
of Bre00mafeing[ 

TAUGHT ONLY BY THE 

ameritan College of Bressmafeing 
Hansag Citp, iHo. 

Miss Pearl Merwin, Supervisor. 

Lesson No. 2 

HOW TO PROCEED. 

Fii'st — Study the lesson carefully, comparing instruc- 
tions and accompanying drafts. (You will observe that 
the instructions tell how the large draft is made.) 

Second — With the lesson and draft before you for 
leference and comparison, take a sheet of wrapping paper 
and draft a pattern exactly like the large printed one. 

Third — Answer the questions and send them to us for 
correction and grading together with the draft asked for 
in the last question of this lesson. 

Fourth — After you understand this lesson thoroughly 
and have sent in report and draft required, we advise that 
for practice you make at least ten other waist drafts from 
that many different sets of measurements. 

(This is not required, but we strongly recommend it.) 
One of the main secrets of the success of our graduates is 
that they know the system, because they learned it well by 
much practice. 

Fifth — Do not try to cut and make a waist until you 
have studied and reported on the first six lessons, as there 
are points in each of these lessons of which you must have 
a knowledge before doing the actual work. This is im- 
portant. 

Page Three 



0\ir New Tatilor's Square 






MM 



TTTTT 



. 1-^ 






We have had so many calls 
from our students for a tail- 
or's square that up to the 
present time we have been 
experimenting with different 
materials , such as press- 
board, wood, etc., having 
used pressboard for two or 
three years, but we find that 
where pressboard is used 
there is danger of the 
schedules being worn at the 
corners and edges enough to 
make the measurements in- 
accurate. 

We have therefore elimi- 
nated all of the cheaper ma- 
terials and had our new tail- 
or's square for the new re- 
vised System made of the 
best grade steel, with the 
scales and schedules litho- 
graphed in colors. This 
square will last the student 
a lifetime. As the square is 
24 inches long, a yard-stick 
is ipractically unnecesary, 
but as a rule, one may be had 
for the asking at most any 
general store. If you use a 
yard-stick, be sure to get a 
good straight one. 



MR 



ML 



o 



IS 




Page Four 



Face of Square. — On this side of the square will be 
found indicated the inches, quarter inches, and eighth 
inches. 

The inches are numbered on both long and short arm, 
the half inches, which is called in the lesson the "scale of 
halves" are numbered along the long arm only. 
On the inside edge, directly opposite the corner occurs the 
neck curve, extending some distance along the short arm of 
square. Also on the inner edge of the long arm occur the 
points "A," "B" and "C." Now turn the square over. 

Reverse of Square — On the side of the square the 
fourths, eighths, thirds and sixths of inches are indicated 
and numbered; the fourths and eighths are on the short 
arm and the thirds and sixths on the long arm. These are 
called respectively the "scale of fourths," "scale of eighths," 
"scale of thirds" and "scale of sixths." Inches are also 
numbered on both the long and short arm of square. Six- 
teenths are indicated on the short arm of square, but are 
not numbered. The armhole curve occurs on the inner edge 
in the same reverse position as neck curve on face of 
square. Also, on the inner edge of the long arm, directly op- 
posite points A, B and C on face of square, occur "Curve 
A," "Curve B" and "Curve C." 

THE USE OF THE SQUARE— The use of the square 
saves calculations. For instance, when measuring up the 
waistline on a draft to see how much of it must be taken 
out in order to leave it the same length as the waist measure, 
the scale of halves will prove of great value. The calcula- 
tions are simple enough of themselves when we have even 
numbers to deal with, but when we have odd and fractional 
numbers the value of the scales on the square is apparent. 
To illustrate, suppose the waist measure is 24l^ or 24V^, 
one does not have to calculate that half of the waist measure 
is 121/^ or 12l^, but may simply make a point for half the 
waist measure on the scale of halves directly opposite the 
point indicating the entire waist measure. 

By glancing at the face of square one readily sees that 
241/4 on the scale of halves is exactly the same as 121/8 oil 
the scale of inches; also that 241/^ on the scale of halves, the 
same as 12l^ on the scale of inches. 

Page Five 



This lesson on waist drafting affords excellent prac- 
tice in the use of the scales of inches on the square, for all 
of them are used and when the instructions call for a line 
to be made one-half, one-third, one-fourth, one-sixth, or one- 
eighth a certain measure, do not lose an opportunity to be- 
come familiar with your square, for one will find the differ- 
ent scales on the square a great time-saver and convenience 
in dividing space accurately. In making use of the scales 
there are only two points to bear in mind, first select the 
scale indicating the parts into which the space is to be 
divided, or the multiples of that number, and the length of 
the space to be divided. For instance, to divide a 15-inch 
space into halves, make a point at either end of the space 
when measuring it and place the long arm of the square upon 
which the scale of halves is indicated (face) on a line with 
the space to be divided, having the corner of the square at 
the end of the space, and mark off at 15, which will make 
each division 71/2 inches. It will be observed that 15 on 
the scale of halves is the same as 7% on the scale of inches. 
If the space is to be divided into four equal parts, place 
the short arm of square upon which the scale of fourths is 
marked (reverse) on a line with space to be divided and 
mark off at 15 and the multiples of fifteen, that is, twice fif- 
teen, three times fifteen, etc., which would be 30, 45, etc. The 
fourth division will come at the end of the space since it is 
divided only into four parts. This will make each division 
3% inches. Of course, if one does not care to think of the 
mulitples of numbers, the divisions may be made by meas- 
uring from the corner of the square on the scale used to 
the figure which represents the length of the space, and, 
making a point. Lift the square, placing corner of it at 
point just made and mark off at same figure as before, con- 
tinuing in this way until all the divisions are made. After 
one has become perfectly familiar with the first method 
given, however, it will be found quicker and more con- 
venient. 

If the 15-inch space is to be divided into eight equal 
parts of 1% inches, mark on the scale of eighths opposite 
mark representing 15, which is half way between figures 
14 and 16 and continue until the eight divisions are made. 
To divide the space into three equal parts, make the first 

Page Six 



division opposite figure 15 on the scale of thirds, continuing 
until there are three divisions. If one wishes the same 
space divided into six equal parts make the first division 
point opposite the mark representing 15 on the scale of 
sixths, or halfway between figures 14 and 16. Thus one 
would continue with any number of divisions and for prac- 
tice take several different length spaces, first one and then 
another, using the different scales on each. One cannot 
expect to understand how to use the square by simply read- 
ing over the description of it, but must do the work as in- 
structed. 

Occasionally in drafting you will have need for a scale 
of 5ths and 7ths which you will find indicated on the small 
testing scales which accompany this lesson. 

TAKING MEASUREMENTS. 

Just a word of caution about taking measurements 
before entering upon the lesson proper. Strange as it 
may seem, there is nothing more important in dressmak- 
ing than the taking of correct measurements. It matters 
not how nicely you have drafted the pattern or how care- 
fully you have put the different parts together, you can- 
not turn out a satisfactory piece of work unless the meas- 
uring was accurately done. This requires practice — much 
practice. Practice as much as possible until you have 
become perfectly familiar with every detail. 

Observe very closely the form of the person whose 
measures you are taking. This is very essential, as dif- 
ferent forms have different characteristics of contour. Two 
persons may have the same measurements exactly, yet 
their forms be so different that a pattern that will fit one 
may not fit the other at all. For instance, two persons 
may each have 38 bust measure; one of them may have a 
full, rounded bust and a narrow back, while the other may 
be flat in front with large protruding shoulder blades and 
a deep hollow in the back, where the measure is taken up. 

For practice it is well to take the measures of as many 
different persons as possible. Before beginning to take 
measures, tie a cord tightly around the waist at waist 
line and take the measure to the bottom of this cord. Pay 
no attention to the seams in the waist of the person whose 

Page Seven 



measures you are taking. They may or may not be correct. 
Always take the measures in the order given below, and 
write each measure down in same order. For recording 
measures, use the accompanying blank. For practice 
measures you can extend this blank as far as you like, ruling 
blank paper and pasting it on at the bottom. 

On account of the great difference and variations in 
measures and forms, it is impractical to try to use the same 
method of drafting for large or stout figures as that used 
for small or medium-sized people. For the model draft, 
therefore, we have used what is termed "normal measures." 
This draft consists of a two-piece back and two-dart front 
which will work successfully for all measures under a 38 
bust measure. Of course, it could be used for the large 
measures but the sections would be so wide that they would 
not look well. For measures over a 40 bust measure we 
advise the use of a three-piece back and two-dart front as 
given in the latter part of this lesson. 

THE WAIST MEASURE. 

The American System uses the following eleven meas- 
ures for the waist : 

(1) neck, (2) bust, (3) waist, (4) front, (5) dart, (6) 
chest, (7) length of back, (8) depth of back, (9) width of 
back, (10) underarm, (11) armhole. 

1. Neck measure : This measure is taken around the 
neck at the base. (See Line 1, Figs. 56 and 57.) 

2. Bust measure : This measure is taken around and 
over the fullest part of the bust, having the tape line well 
up under the arms, and bringing it to the center of the 

mmkt. This may be taken as tight as waist is desired. (See 
Line 2, Figs. 56 and 57.) It is well to stand directly behind 
the person in taking this measure. 

3. Waist measure: Pass the tape around the waist 
line, drawing it very snug and tight. (See Line 3, Figs. 
56 and 57.) 

4. Front measure : Place the end of the tape line on 
the prominent bone at the back of the neck; pass the line 

Page Eight 



over the shoulder near the base of the neck and down over 
the fullest part of the bust to the waistline, drawing it 
snug. This measure is taken from the back of the neck 
to get the length of the front from the shoulder down to 
waistline. It might be taken from the shoulder, but as 
there is no set or determined point from which to take the 
measure on the shoulder, we take it from the back of the 
neck. (See Line 4, Fig. 56.) 

5. Dart measure : This measure it taken exactly like 
the front measure therefore when taking the front measure 
glance at the tape line to see just where the fullest part of 
bust comes on the tape. (See intersection of Lines 2 and 4 
in Fig. 56.) 

6. Chest measure : This measure is taken across the 
chest, from armhole to armhole, midway between the base 
of neck in front and the bust line. (See Line 5, Fig. 56.) 

7. Length of Back measure : Measure from the prom- 
inent bone at the base of the neck to bottom of waist cord. 
Allow plenty of room as too short a measure gives a low 
neck in the back. (See Line 6, Fig. 57.) 

8. Depth of Back measure: Pass a tape across the 
back directly under the arms and have the patron hold it 
securely there by holding her arms close to her body. With 
another tape, measure from the prominent bone at the back 
of neck down to the tape that extends across the back. 
(See Line 7 between arrow-heads in Fig. 57.) 

9. Width of Back measure: This measure is taken 
across the back, from armhole to armhole, between base of 
neck and the bust line. (See Line 8, Fig. 57.) 

10. Underarm measure: Place the end of the tape 
line close up under the arm and measure straight down to 
the bottom of the waist cord. The arm should be dropped 
naturally at the side while this measure is being taken. 
(See Line 9, Figs. 56 and 57.) 

11. Armhole measure: Pass the tape around under 

Page Nine 




FIGURE 56 




FIGURE 57 



the arm and bring it up to the shoulder rather easy. (See 
Line 10, Figs. 56 and 57.) 

The draft used in this lesson is made from the fol- 
lowing measures : Neck, 13 inches ; bust, 36 inches ; waist 
24 inches; front 21 inches; dart 14 inches; chest 131/2 
inches; length of back 15 inches; depth of back 7 inches; 
width of back 13j^ inches; underarm 8 inches; armhole 15 
inches. 

The paper sent for drafting purposes is a little longer 
than it is wide. When starting to draft lay the paper so that 
one of its long sides will come next to you. 

Measure in about six inches from the right edge of 
paper and one inch from the edge next to you and lay 
square so that its long arm will extend along long edge of 
paper . and short arm along short edge of paper. Draw 
a line along the long arm of square making it the 
length of back measure plus one-half inch, and mark it 
Line 1. While the square is in this position, draw a line 
along the short arm of square making it four or five inches 
long, and mark it Line 2. A is a point on Line 2 made one- 
sixth the neck measure on the scale of sixths from lower 
end of Line 2. C is a point on Line 1 made one-sixth the 
neck measure on the scale of sixths from the right end of 
Line 1. Make B one-half inch from top of Line 1. This is 
for neck curve. D is made the depth of back measure from 
B, and E is the mid-way point between C and D. Place F at 
the bottom of Line 1. Next, draw Line ^ at a right angle 
to Line 1 at D. This is done by placing corner of the square 
on D and its short edge along upper part of Line 1. In the 
future, for convenience, we will call this process "squaring" 
on a line, therefore, squaring on Line 1 at D, measure out 
on the long arm of square and draw a line the length of 
one-half the bust measure on the scale of halves and mark 
it Line 3. This is the bust line. Place G at its left extrem- 
ity. (See draft.) Make H one-half the width of back 
measure from D on Line 3 and make I midway between H 
and D. From H measure to the left on Line 3 one-fourth of 
the armhole measure on the scale of fourths and make J. 
Make K one-third of the distance between H and J from H 
and make L two-thirds of the distance from H. (See Draft.) 

Page Twelve 



Squaring on Line 3 at H draw Line 4 the length of one- 
third the armhole measure on tlie scale of thirds and make 
M at its termination. To get square in this position, lay the 
short arm along Line 3 from H to G having Reverse of 
Square up and this will bring the scale of thirds along the 
line to be drawn. Continue Line 4 above M until it is the 
length of one-eighth the armhole measure on the scale of 
eighths above M and make N at the end of this line. Squar- 
ing on this line at N draw Line 5 to the left, making it also 
one-eighth the armhole measure, and make at its termin- 
ation. (In this case, the armhole is 15 inches and one- 
eighth of fifteen is one and seven-eighths, therefore the dis- 
tance from N to M and from N to is each one and seven- 
eighths inches.) Placing corner of square on E and letting 
long arm of square touch draw Line 6 from O making 
it eight or ten inches long. 

Draw the back shoulder line from A to M, placing A 
on A and letting armhole curve of square touch M on draft 
and extend it one-quarter of an inch beyond M and mark it 
Line 7. Now, measure this line, five and one-half inches 
in this case and measure the same length minus one-quarter 
of an inch from on Line 6 and make point P. This forms 
the shoulder line for the front part of draft (See draft.) 
From P measure to the left on Line 6 one-sixth of the 
neck measure on the scale of sixths and make Q. Placing 
corner of square on Q and letting its long arm touch G, 
draw a line from Q through G and on down the length of 
square, and mark this Line 8, From P draw Line 9 
parallel with Line 8 making it the length of dart measure 
minus the width of back of neck, which is one-sixth of 
the neck measure on the scale of sixths. In this instance 
the neck measure is 13 inches; one-sixth of 13 is two and 
one-sixth, so place the two and one-sixth mark on square 
on P and draw Line 9 to the dart length mark, which in 
this case is 14 inches. While square is in this position make 
Dot R at the length of front measure which in this case is 
21 inches. Also place S at the length of dart measure (See 
draft.) Measure down on Line 9 from P one-fourth of the 
neck measure and make T. Squaring on Line 9 at T draw 
Line 10 across to Line 8 and draw the neck curve by placing 
the six-inch mark in neck curve of square on P and letting 

Page Thirteen 



MODEL WAIST DRAFT 

SUPPLEMEM TO LESSON 2 

AMERICAN SYSTEM 

OF DRESSMAKING 

(COPYRIGMT ISIl' 

ASSOCIATED 
TRAJNIING SCHOOLS 

KANSAS CITY. MO, 




This miniature draft of the waist is shown here simply 
for immediate reference in study. It is reduced to one- 
fifth actual size. In drafting always refer to the large 
draft accompanying this lesson. 

Page Fourteen 



the one-half inch mark fall on the junction of Lines 8 and 10. 
This one-half inch mark, however, will not always fall on 
the junction of these lines, but in large measures lower the 
square at P from a quarter to one-half inch and let the 
square touch junction of Lines 8 and 10 where it will to 
keep the neck curve in the same proportion as in smaller 
measures. 

Squaring on Line 3 at J, draw Line 11 up until it is 
three or four inches long. Now draw the front armhole 
curve by placing arrowhead in armhole curve on reverse 
of square on on draft and letting square touch Line 11 
and L. Reverse square and draw the back armhole curve 
by placing arrowhead on face of square on end of shoulder 
line and adjusting square to touch Line 4 and K. In large 
measures it will sometimes be found necessary to let the 
arrowhead fall from one-half to one inch below and end 
of shoulder line to keep armhole in proper proportion. Also 
draw the back neck curve from A to B by placing the 4-inch 
mark in neck curve on A and letting edge of square touch B. 

Now turn the paper so that the edge which was next to 
you will be on the right, and the lower end will come next 
to you. 

Draw a line from Line 8 through S parallel with Line 
3 and about six inches long and mark it Line 12. (See 
Draft.) Measure the distance from G to K and use one- 
fourth of this distance to make ss on Line 12 from Line 8 ; 
also make U the same distance from ss on Line 12. 

Next, squaring on Line 8 so that the long arm of square 
will touch R, draw Line 13 from Line 8 through R making 
it five or six inches long. Make V one-sixth of one-half the 
waist measure from Line 8 on Line 13, in this case two 
inches. 

The first or front dart is usually one and one-half inches 
wide, so measure to the right of V one and one-half inches 
and make W. Measure to the right of W one inch and make 
X. Next draw the lines representing the darts. Line 14 
is drawn by placing C curve on ss and letting edge of square 
touch V. Reverse square so that C will come on ss and edge 
on W and draw Line 15 from ss to W. Again reverse 
square and place C curve on U and edge on X and draw 
line 16 from U to X. Place Y at the midway point between 

Page Fifteen 



and P and draw a straight line from U to Y. (See draft.) 

Squaring on Line 3 at K draw Line 17 making it the 
length of under arm measure. Place Z at its lower extrem- 
ity and connect Z and F with a straight line and mark it 
Line 18. This is the back waist line. Measure to the left 
of F one-half inch and make aa and draw Line 19 from aa 
up to B . From aa measure to the left one-sixth of one-half 
the waist measure, in this case two inches and make bb. 
From bb measure to the left one and one-half inches and 
make cc. Place dd at the midway point between cc and 
bb. From Z measure to the right one inch and make ee 
and to the left one-half inch and make ff . Find the midway 
point on Line 7 and place gg at this point. Draw a straight 
line from gg to I. (See draft.) 

Draw Line 20 by placing A on square (face of square 
up) on bb on draft and letting edge touch L Moving square 
up so that A will fall on I and armhole curve touch cc, draw 
Line 21 from cc to I. Move square down again so that A 
will come on ee and edge touch K and draw Line 22 from 
ee to K. Move square up so that A will fall on K and edge 
on ff and draw Line 23 from ff to K. (See draft.) 

The next step is to test the waist line. Measure Line 
13 from Line 8 to V, from W to X and Line 18 from ee to 
cc and from bb to aa. In this case it measures 7^ inches. 
Place the 7% inch mark on square on ff and measure to the 
left and make a dot at the point indicating one-half the 
waist measure, which in this case is 12 inches. Next, meas- 
ure Line 16 from U to X. Placing corner of square on U 
and letting straight edge of square fall on the dot that 
represents one-half the waist measure, make hh one-fourth 
inch less than the length from U to X. (See draft.) 
Draw Line 24 from hh to U by placing A curve (Reverse 
of square up) on U and letting armhole curve touch hh 
and draw Line 25 by placing A on ff and edge of square 
on hh. Test the whole waist line again to see if it meas- 
ures just one-half the waist measure — 12 inches in this 
case. Make any alterations or corrections at hh. 

Now the lines must be extended below the waist line 
six inches though the draft may be cut shorter if desired. 
Line 8 below Line 13 should be made six inches. Squaring 
on Line 8 at the six-inch point, draw a line two inches long 

Page Sixteen 



to the right and connect the end of this line with V. Squar- 
ing on Line 13 at W continue Line 15 on down until it is 
six inches long. Squaring on the end of this line draw a 
line one and three-quarters of an inch to the right and con- 
tinue Line 16 from X to the end of this line. Extend Line 24 
down six inches from hh. (See draft.) The squace between 
Lines 16 and 24 at the bottom should be about three-eighths 
of an inch more than the space at the waistline. 

Line 1 is extended six inches below F and a line is 
drawn from aa to the lower end of this line. Draw lines 26 
and 27 straight down from dd and Z respectively making 
each six inches in length. Make ii one quarter of an inch 
and jj one-half of an inch to the right of the lower end of 
Line 26, raising the latter until the distance to cc is six 
inches, and make kk one quarter of an inch to the right 
of the lower end of Line 27. Draw a line from bb to ii by 
placing C curve on square on bb and letting curved edge 
touch ii. Connect ii with lower end of Line 1. Draw a line 
from cc to jj by placing A curve on square on cc and letting 
edge touch jj. Reverse square placing A on ee and letting 
edge touch kk and draw a line from ee to kk. Connect kk 
andjj. (See draft.) 

Now test the hip line. Measure the two bottom lines 
of the first two sections of the front, then from kk to jj and 
from ii to end of Line 1. In this case it measures 11% 
inches. Place the 11% inch mark on the extended end of 
Line 24 and measure to the right and make a dot at the 
point indicating one-half the hip measure which, in this case 
is 20 inches as whole hip measure is 40 inches. Move end 
of square up until the distance to ff is six inches and make 
LL at this point. (See draft.) Draw a line from LL to ff by 
placing A curve on square on ff and letting edge of square 
touch LL. Connect LL with lower end of Line 24 by plac- 
ing A curve on LL and letting square touch end of Line 24. 
Test all the lines again to see if the whole measures 20 
inches. Make any corrections at LL. This completes the 
waist drafting. The tracing and cutting and allowing for 
seams will be taken up in the following lesson. 

The following is just a brief synopsis of the drafting 
without any whys or wherefores and is given to simplify 
the drafting after the previous pages have been studied. 

Page Seventeen 



It will save time as there is not so much reading to do, but 
specific and minute instructions. 

Line 1 is drawn the length of back measure plus one- 
half inch. 

Line 2 is drawn at a right angle from top of Line 1 and 
is made four or five inches long. 

A and C are each one-sixth of neck measure on the 
scale of sixths from junction of Lines 1 and 2. 

B is one-half inch from top of Line 1. 

D is the depth of back measure from B. 

E is half way between C and D. 

F is placed at end of Line 1 indicating -length of back 
measure plus one-half inch. 

Line 3 is the length of one-half of bust measure on 
the scale of halves and is drawn by placing corner of square 
on D and short arm along upper part of Line 1. 

G is placed at the left extremity of Line 3. 

H is one-half the width of back from D and I is the 
midway point between D and H. 

J is one-fourth the armhole measure on the scale of 
fourths from H on Line 3. K is one-third the distance 
from H to J, and L is two-thirds the distance from H to J. 

Line 4 is made the length of one-third the armhole 
measure on the scale of thirds and is drawn at a right 
angle to Line 3 at H. 

M is placed at the end of Line 4. 

From M to N is one-eighth the armhole measure, on 
the scale of eighths. 

From N to is one-eighth the armhole measure, on 
the scale of eighths. 

Draw Line 6 from by placing corner of square on E 
and letting its long edge touch 0. It is the front shoulder 
line. 

Line 7 is the back shoulder line and is drawn from A 
to M and extended one-quarter inch beyond M. 

Measure Line 7 and then make dot P that same length 
minus one-quarter inch from on Line 6. 

Q is one-sixth the neck measure on the scale of sixths 
from P. 

Page Eighteen 



Place corner of square on Q and its long arm on G and 
draw Line 8 the entire length of square. 

Line 9 is drawn from P parallel with Line 8 and is 
made the length of dart measure minus one-sixth the neck 
measure. 

R is the front length minus one-sixth the neck meas- 
ure. 

S is the dart length from P. 

T is one-quarter the neck measure from P on Line 9. 

Line 10 is drawn at a right angle from T to Line 8. 

Line 11 is drawn at a right angle from J and is made 
three or four inches long. 

Draw the front armhole curve from to touch Line 
11 and on down to L by placing arrowhead on reverse of 
square on 0. 

Draw the back armhole curve from end of shoulder 
line to touch Line 4 and on down to K by placing arrow- 
head on face of square on end of shoulder line. 

Line 12 is drawn through S from Line 8 and parallel 
with Line 3. 

ss is one-quarter the distance from G to K, measured 
on Line 12 from Line 8. 

U is the same distance from ss as ss is from Line 8. 

Line 13 is drawn through R at a right angle from Line 
8 and is made five or six inches long. 

V is one-sixth of one-half the waist measure from Line 
8 on Line 13. 

The front dart is one and one-half inches wide, there- 
fore it is one and one-half inches from V to W. 

X is one inch to the right of W. 

Draw Line 14 from ss to V by placing C curve on 
square on ss and letting edge touch V. Reverse square 
holding C on ss and draw Line 15 from ss to W. 

Line 16 is drawn from U to X in the same manner as 
Line 14 was drawn. 

Y is the midway point between and P. Line 16 is 
continued from U up to Y. 

Page Nineteen 



Line 17 is drawn from K straight down and is made 
the length of under arm measure. 

Draw Line 18 from F to bottom of Line 17. Place Z 
at the junction of these two lines. 

aa is one-half inch to the left of F. 

gg is the midway point of Line 7. Draw a straight 
line from gg to I. 

Line 19 is drawn from B to aa. 

bb is two inches to the left of aa. 

cc is one and one-half inches from bb and dd is the 
half-way point between bb and cc. 

ee is one inch to the right of Z and ff is one-half inch 
to the left of Z. 

Line 20 is drawn from bb to I by placing A on square 
on bb and letting edge of square touch I. 

Line 21 is drawn by moving square up so that A will 
touch I and armhole curve touch cc. 

Line 22 is drawn by placing square so that A will be 
on ee and edge of square touch K. Move square up 
so that A will fall on K and armhole curve on ff and draw 
Line 23 from f£ to K. 

Test waist line. Measure Line 13 from Line 8 to V, 
skip front dart and measure from W to X. Then measure 
from ee to cc and from bb to aa. In this instance it meas- 
ures 7% inches. Therefore place the 7}i inch mark on 
square on ff and measure to the left and make a dot at the 
point indicating one-half the waist measure, which in this 
case is 12 inches. Next, measure Line 16 from U to X. 
Placing corner of square on U and letting straight edge of 
square fall on the dot that represents one-half the waist 
measure, make hh one-fourth inch less than the length 
from U to X. 

Line 24 is drawn from hh to U by placing A curve on 
square on U and letting armhole curve touch hh. 

Line 25 is drawn from ff to hh by placing A on ff and 
letting edge of square touch hh. 

Test waist line again to see if it measures 12 inches, 
make any alterations at hh. 

Page Twenty 



Extend the lines six inches below the waist line in the 
following manner : 

Continue Line 8 until it is six inches long below 
Line 13. Squaring on Line 8 at the six-inch point, draw a 
line two inches long to the right and connect the end of 
this line with V. 

Squaring on Line 13 at W, continue Line 15 until it is 
six inches long. Squaring on the end of this line draw a 
line one and three-quarter inches to the right and continue 
Line 16 from X to the end of this line. 

Line 24 is extended six inches straight down from hh. 

The space between Lines 16 and 24 at the bottom should 
be about three-eighths of an inch more than the space at 
the waistline. 

Line 1 is extended six inches straight down from F. 

Line 19 is extended from aa to end of Line 1. 

Lines 26 and 27 are each drawn six inches from dd and 
Z respectively, ii is made one-quarter inch and jj one-half 
inch to the right of lower end of Line 26. jj is then raised 
until its distance to cc is 6 inches, kk is made one-quarter 
inch to the right of lower end of Line 27. 

Draw a line from bb to ii by placing C curve on square 
on bb and letting curved edge of square touch ii. 

Connect ii with lower end of Line 1. 

Draw a line from cc to jj by placing A curve on square 
on cc and letting edge of square touch jj. Reverse square 
placing A on ee and letting edge touch kk and draw a line 
from kk to ee. 

Connect kk and jj. 

Test hip line. Measure the two bottom lines of the 
two front sections, then from kk to jj and from ii to end 
of Line 1. In this case it measures 11% inches. Place the 
11% inch mark on the extended end of Line 24 and measure 
to the right and make a dot at the point indicating one- 
half the hip measure, which in this case is 20 inches. Move 
end of square up until the distance to ff is six inches and 
make LL at this point. Draw a line from LL to ff by placing 
A Curve on square on ff and letting edge of square touch 
LL. Connect the lower end of Line 24 with LL by placing 
A Curve on LL and letting edge of square touch lower end 
of Line 24. 

Page Twenty-One 




FIG. 58 



l>Iiniature Model of Waist Draft for large measures, reduced to 1-5 
actual size. 



Page Twenty-Two 



DRAFTING A THREE-PIECE BACK, AND FRONT 

WITH TWO DARTS FOR A 40-INCH BUST 

MEASURE AND OVER. 

Outline the back and front with all the dots and lines as 
previously instructed until you come to Line 17 and Z 
with the exception of dot ss, which is made one-fourth the 
length from G to L on Line 12 from Line 8. 

Draw Line 17 straight down from L instead of from K 
and place Z at its lower end, then draw Line 18 from Z to 
F. aa is made one-half inch from F. 

V is one-eighth of one-half the waist measure from 
Line 8. 

Line 19 is drawn from aa to B. 

bb is one-eighth of one-half the waist measure from aa. 

cc is one and one-half inches from bb. 

dd is half way between bb and cc. 

ee is the midway point between Z and cc. 

ff and gg are each one-half inch from ee. (See Fig. 58.) 

hh is one inch to the left of Z. 

Lines 20, 22 and 24 are drawn according to instruc- 
tions for drawing the two former in the other draft. Line 
22 is extended from H to armhole. 

Lines 21, 23 and 25 are also drawn as in other draft. 

Test waist line the same as before, making it measure 
one-half of entire waist measure and place jj at the cor- 
rect point, then draw Lines 26 and 27. 

Extend the lines below the waist line in front as in the 
first draft, also Lines 1 and 19 in the back. 

Draw Lines 28, 29 and 30 respectively from dd, 
ee and Z, making each six inches in length. 

kk is one-fourth and LL one-half inch to the right from 
end of Line 28. 

mm is at bottom of Line 29 and nn is one-half inch to 
the right of mm. (See Fig. 58.) 

Page Twenty-Three 



00 is one-half inch to the left of end of Line 30. Draw 
lines from bb to kk; from cc to LL; from gg to mm; from 
ff to nn and from Z to oo, using the same curves as in the 
other draft. Connect the sections at the bottom. Test the 
hip line and make pp at a point so that it will measure one- 
half of entire hip and six inches from hh and draw line 
from pp up to hh, also one from pp to bottom of Line 26 
below jj. 

The measures used in making Fig. 58 and then reduced 
are: Neck 14, bust 40, waist 26, front 21, dart 15, chest 
15V2» length of back 16, depth of back 7i/2» width of back 
14, under arm 8i/2> armhole 16, hips 44. 



Page Twenty-Four 



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Under 
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Width 
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Depth 
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Length 
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Page Twenty-Five 



QUESTIONS. 

1. How many measures are used in drafting a waist 
and what are they? 

2. Explain how each of them is taken. 

3. (a) How long is Line 1 drawn? (b) How are 
points A and C obtained? (c) D and E? 

4. (a) How is Line 3 drawn and how long is it? (b) 
Explain how points H, I, J, K and L are obtained. 

5. (a) How long is Line 4 drawn? (b) Explain how 
dots N and are located, (c) How is Line 6 drawn? (d) 
What determines its length to P? 

6. (a) How far is Q placed from P? (b) How are 
points R and S obtained? 

7. (a) How are dots ss and U located on Line 12? (b) 
What determines the location of V? 

8. Explain the drawing of Lines 14, 15 and 16. 

9. How is the waistline divided in the back? 

10. Explain the testing of waistline and the location 
of hh. 

11. Explain fully how the lines below the waistline 
are drawn. 

12. (a) In Fig. 58, how are dots ss and U located? 
(b) How are points V and bb obtained. 

13. Explain the location of points cc, ee, ff, gg and hh. 

14. Draft a waist from the following measures and 
send it to us for inspection: Neck, 12 inches; bust, 36 
inches; waist, 23 inches; front, 201/2 inches; dart, I31/2 
inches; chest, I314 inches; length of back, 14V^ inches; 
depth of back, 6% inches ; width of back, 13 inches ; under 
arm, 7% inches; armhole, 14 inches. 

Page Twenty-Six 



The Acme Adjustable 
Dress Forms for the 



Professional Dressmaker 
and Home Seamstress 

are, as the name sle:nifies, the *Acme" of per- 
fection in adjustability, in durability, in econ- 
omy, in service and in style. We have either 
used or had occasion to examine and t-^st 
practically all the dress forms on the market 
and have settled upon this one form as the 
one best adapted to our needs and the needs 
of our students. 

As Necessary as the Sewing 
Machine to Every Woman 
who Makes Her Own Dresses 

The woman who makes her own dresses 
needs an Acme Dress Form. She can, where 
necessary, make her own dresses without a 
sewing machine, but she cannot fit herself — 
on her own figure. It can't be done. To se- 
cure a satisfactory fitting she must use an 
Acme Dress Form. Thousands of women 
who make their own dresses now use the 
Acme Automatic Adjustable Form. They 
would not be without it. These women for- 
merly tried to fit themselves before a mirror 
or by trying their dresses on someone else. 
Now theirgarments fit perfectly and have the 
correct lines as shown in the Fashion Maga- 





zines. The Automatic Adjustable Dress Form has 
solved that problem for every woman who uses it. 
It is perfect. It is easier and more satisfactory for 
yoii to fit your own gowns over the Acme Form 
than it is for a dressmaker to fit your gowns on 
you. It is less trouble, less fatiguing to you, and 
insures you a much more satisfactory fitting. 

You need an Acme Automatic Adjustable Dress 
Form in your home. You need it just as much as 
you need your sewing machine — you can fit your 
own dresses over it — you can fit your daughters' 
dresses over it — it saves headaches and backaches. 
It makes "sewing week" a pleasure, and it insures 
such perfectly satisfactory results. 

Before pnrchasraE a Drets Form be sore to write for oar Dress Form Catalog, which de- 
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Address 

ASSOCIATED TRAINING SCHOOLS 

1510-30 COMMERCE BLDG. Mdse. Dept. B KANSAS CITY, MO. 



THE 

AMERICAN SYSTEM 

OF DRESSMAKING 



A Course of 

Instruction by Mail 

in the 

Science and Art 

of 

Successful 

Dressmaking 

And Ladies' Tailoring 



Lesson No. 3 



The American College of Dressmaking 

(Associated Training Schools, Proprietors ) 

KANSAS CITY, MO., U. S. A. 



Copyrighted 1906, 1907, 1908 and 1909 
by J. M. Stelle 

Copyrighted 1910 and 1911 
b^ Associated Training Schools 



Jill rights reserved. 



Printed in the United States. 



CI)e 



American ^|>0tem 

TAUGHT ONLY BY THE 

American College of Btessmafeing 
Hansas €it^, Mo, 

Miss Pearl Merwin, Supervisor. 

Lesson No. 3 

TESTING MEASUREMENTS. 

Before proceeding any further with the drafting, it 
is necessary to test the measurements of the front and 
back drafts to see if they correspond with those you have 
taken. Of course, if they were taken correctly and you 
made the right calculations when drafting, you will find 
them just exactly the same when testing them. Test them 
in the same order as they were taken and you will not be so 
apt to miss any of them. 

First test the neck measure. Begin at left end of 
Line 10 in the front draft and measure the neck curve 
up to dot P, being very careful not to let the tape line slip 
at any time, then measure from A to B in the back draft. 
Twice this measure will give the entire neck measure, as 
this is only one-half of the waist. This measure will test 
out from one-quarter to one-half inch larger than the 
original neck measure. 

Next test the bust measure by measuring from dot G 
to D ; this measure should test out exact. Twice this amount 
will give the entire bust measure. The short distance cut 
off of Line 3 in drawing Line 19 will not interfere with the 
fitting. 

Page Three 



Now test the waist line. Measure Line 13 from Line 
8 to V. Skip front dart and measure the space between 
the two darts, skip the second dart and measure Line 
25 from hh to ff. Then measure Line 18 from ee to cc and 
from bb to aa. Twice this amount should give the original 
waist measure. If the measure tests out too large or too 
small, make corrections at hh on Line 25. 

Test the front measure by measuring from P 
to V and then add the width of the neck from the prominent 
bone at the back around to the shoulder, which is one- 
sixth of neck measure ; also test dart line at same time. 

Next test the chest measure by measuring half way 
between neck and bust line over to armhole curve. In small 
measures this will test out perhaps a little small and in 
large measures a little large. This is due to keeping the 
armhole in the proper proportion by using one-quarter of 
armhole to make J from H. Any alterations can be made in 
fitting lining on the line from U to Y. 

Measure Line 19 from B to aa to see if it corresponds 
with the original back measure. Next test the width of 
back measure by measuring from E over to armhole. This 
should test exactly one-half of width of back measure. 
Also test depth of back measure by measuring from B to 
D. Test the underarm measure by measuring Line 17 from 
K to Z. Next, test the armhole by measuring from O to 
Line 11 and on down to L then to K and on up to Line 7. 
If it tests a little large draw the line from O to L with 
less curve. If a trifle small, trim out in the fitting. 

TRACING THE LINING. 

Now that you have made the draft and tested the 
measures and know them to be correct, you are ready to. 
trace and cut the lining. This requires a tracing wheel. 
You will need about two yards of lining for a waist. Use 
the lining crossways of the material and it will not stretch 
out. A very safe way is to fold the lining through the mid- 
dle, so that the ends will come together, pinning it securely 
so that when tracing it will not slip, and both fronts will 
be traced exactly alike. This is very essential, for if the 
fronts are not just alike the waist is apt to twist. 

The first thing to do after testing the measures is to 

Page Four 



MODEL WAIST DRAFT 

SUPPLEMEINT TO LESSON 2 

AMERJCAN SYSTEM 

OF DRESSMAKING 

(copyright I9I|) 

ASSOCIATED 
TRAINING SCHOOLS 




FIG. 59 

This miniature draft of the waist is sho^Tn here .simply for im- 
mediate reference in study. It is reduced to one-fifth actual size. 



Page Five 



cut the front and back sections apart. On account of the 
overlapping of the side sections over the hips, a small piece 
of paper must be pasted on to one of the sections after 
cutting to keep the lines in their relative position. Cut the 
front as it is and paste the piece on the back portion. First, 
cut Line 8 from the bottom up to the neck curve, then the 
neck curve and shoulder line. Next cut the lines that form 
the darts and bottom outline, then cut from LL up to ff 
and on up to K on Line 23, then the armhole curve up to O. 

The front is then cut in two sections by cutting the 
line from U to Y. Next cut the two back sections apart, 
cutting the side back section from kk up to ee and on up 
to K on Line 22, then the back armhole curve up to end of 
Line 7, then shoulder line to gg. Cut the bottom line from 
kk to jj, then up to cc and on up to I on Line 21 and then 
up to gg. Cut the center back section from ii up to bb 
and up to I. Then cut from ii to end of Line 1, then up to 
aa and on up to B on Line 19, then the neck curve and 
shoulder line down to gg. The center back and side sec- 
tions also overlap a little at the bottom, making it necessary 
to paste a piece on one of them. 

Lay the center front section on the lining with the bust 
line on a straight cross thread of the lining. Pin the section 
to the lining in several places so it cannot slip. First 
trace the waistline or Line 13 from X to W and from 
V to Line 8. Next trace Line 8 from waistline up to neck 
curve, then Lines 14 and 15 from waistline up to ss and 
Line 16 from X up to U and on up to Y, then the shoulder 
line to P and then neck curve. Trace the two sections 
below the waistline, beginning at the waistline and 
trace down. It is a good idea to trace all lines above 
the waistline up and all below the waistline down, to keep 
the pattern from slipping. Remove the draft and cut the 
lining, leaving three-quarters of an inch on shoulder and 
the line from Y to X, for seams. Leave one-half inch on 
the neck curve and do not cut out the first dart until it is 
seamed up, leaving an allowance of one and one-half 
inches beyond Line 8 for finishing. If waist opens in the 
back Line 8 is placed on a fold of the material. 

Next lay the side front section on the lining so that 
the bust line will be on the straight cross thread of the 

Page Six 



material and pin carefully in several places. Trace the 
waistline or Line 25, then trace Line 24 from hh up to Y 
and Line 23 from ff up to K, then the armhole and shoulder 
line. Trace both the lines below the waistline. Remove 
draft and cut, allowing three-quarters of an inch on all 
the lines for seams with the exception of the armhole ; leave 
a quarter of an inch on it. 

Next lay the center back section so that Line 19 will 
come on the selvage or straight of the lining and pin. Trace 
the waistline, then Lines 19 and 20 from aa and bb up to 
B and gg respectively, then shoulder line and neck curve; 
also the lines below waist line. Remove the draft and cut, 
allowing for seams as before. Lay the side back section on 
the material so that the bust line will be on a straight line 
and pin. Trace the waistline, then Lines 21 and 22 from 
CO and ee up to gg and K respectively, then the arm- 
hole curve and shoulder line; also the lines below the 
waistline. Remove draft and cut, allowing for seams as 
before. 

If preferred, a paper pattern may first be traced and 
cut before laying draft on the lining. 

Be very careful when tracing to begin right at the 
waistline to trace up or to trace down; otherwise when 
cutting you will be apt to make the waist shorter or longer 
and also make it large at waistline. 

The front draft may be left in one piece if desired and 
not cut on the line from U to Y. In this event simply lay 
the draft with the bust line on a straight cross thread of the 
material, allowing for finishing beyond Line 8, and trace 
the dart lines and all other lines but the one from U to Y. 
Do not cut out the darts until after the first fitting. If the 
waist is to be opened in the back, follow instructions already 
given. 

The three-piece back and the two-dart front are traced 
and cut in a similar manner. 

DRAFTING THE SLEEVE. 

The American System uses the following measures for 
drafting the sleeve lining : 

(1), length of sleeve from shoulder to elbow; (2), in- 

Page Seven 



side measure from armhole to wrist; (3), elbow measure; 
(4), hand measure; (5), armhole measure. 

1. Length of sleeve from shoulder to elbow : Measure 
from the armhole, at a point about two inches below and 
back of the top of shoulder, to the elbow point. (See Line 
11, Fig. 57, Lesson 2.) In taking this measure be very care- 
ful about placing the elbow correctly, as a wrong measure 
here will make the sleeve out of proportion — either too 
long above the elbow or too short below, or vice versa. 

2. Inside measure from armhole to wrist: Place end 
of tape line at armhole (close up) and measure down to 
wrist. (See Line 12, Fig. 56, Lesson 2.) 

3. Elbow measure: Measure around the arm at el- 
bow bend; this measure should be taken rather loose. (See 
Line 13, Fig. 57, Lesson 2.) 

4. Hand measure: Measure around the hand at the 
largest part, with thumb held inside the hand, so as to 
get the sleeve large enough for the hand to slip through 
easily. (See Line 14, Fig. 57, Lesson 2.) 

5. Armhole measure : Taken according to instructions 
in Lesson 2. 

The measures used in drafting the sleeve for this les- 
son are as follows: Length of sleeve from shoulder to 
elbow, 14 inches; inside measure from armhole to wrist, 
171/2 inches; elbow, 12 inches; hand, 8 inches; armhole, 15 
inches. 

DRAFTING SLEEVE. 

The paper sent for this draft is longer than it is wide. 
When starting to draft, lay the paper so that one of its 
long edges will come next to you. 

Measure in one inch from the right edge of paper and 
one inch from the edge next to you and lay square face 
up so that the long arm will extend along the long edge 
of paper. Draw a line along the long arm of square, mak- 
ing it the entire length of square and mark it Line 1. (See 
draft.) While the square is still in this position, draw a 
line along the short arm of square, making it about ten 
inches long, and mark it Line 2. Make A on Line 2 one- 
third of the armhole measure on the scale of thirds from 
the junction of these two lines, also B on Line 1 one-third 

Page Eight 



of armhole from junction of these lines. (See Draft.) C 
is placed at the midway point between B and top of Line 1. 
From the top of this same line measure down the length 
from shoulder to elbow and make D. (See Draft.) 

Placing corner of square on B, measure down on Line 
1 from B the length of inside measure and make E. From 
E measure down one and one-half inches and make F. 
Squaring on Line 1 at F, by placing corner of square on F 
and short arm of square along Line 1, draw Line 3, making 
it the length of one-half the hand measure, and place G at its 
left extremity. Draw Line 4 from E to G, letting it extend 
three-quarters of an inch beyond G, and place H at its left 
extremity. Make I one-quarter of an inch from E on 
Line 4. Now, measure the distance from E to H. In this 
instance it measures five inches. Place the 5-inch mark 
on square on I and measure to the left on Line 4 and make 
J at the mark indicating the hand measure which in this 
draft is 8 inches. (See Draft.) The distance from E to H 
plus the distance from I to J must always measure the same 
as the hand measure. 

From D measure to the left one and one-half inches 
and make K. From K measure straight out to the left the 
length of one-half of elbow measure and make L. Draw 
Line 5 from K to L, letting it extend one inch beyond L 
and place N at its left extremity; also make M one inch to 
the right of L on Line 5. (See Draft.) 

Squaring on Line 1 at C, draw Line 6, making it the 
length of two-thirds the armhole measure, and place O at 
its left extremity; also place P at the midway point of 
Line 6. Make Q and R each one to one and a quarter inches 
from A on Line 2. (See Draft.) 

Draw upper part of Line 7 by placing A curve on 
K and edge of square on B. Drawn straight lines from M 
to P and from N to O, marking them Lines 8 and 9 respect- 
ively. Continue Line 8 from M to J by placing A on M 
and letting end of square extend in a line with J. The square 
is not long enough to draw the entire line, so draw it part of 

Page Nine 



the way, then move 
square down until it 
touches J and finish the 
line. Continue Line 9 
from N to H in the same 
manner. Continue Line 
7 from K to E, placing 
A on K and letting edge 
of square touch E; also 
draw Line 10 from K to 
I in a similar manner. 
Draw a curved line from 
P to B, using the arm- 
hole curve by placing the 
arrowhead on reverse of 
square on P and adjust- 
ing square to touch B. 

Also draw the curved 
line from B to R by plac- 
ing B and R points in 
sleeve curve on reverse 
of square on B and R on 
draft and extend it on 
to Q and down to by 
placing R, Q and on 
square on these points on 
draft. 




Fig. 60. 



This miniature draft of the sleeve 
Is sbon'n here simply for immediate 
reference in study. It is reduced to 
one-fifth actual size. In drafting 
always refer to the large draft ac- 
companying this lesson. 



BRIEF 
INSTRUCTIONS. 

Line 1 is drawn 
along the long edge of 
paper one inch from the top and side edge of paper. 

Line 2 is drawn at a right angle to the top of Line 1. 

A and B are each one-third of the armhole measure 
from junction of Lines 1 and 2. 

C is the midway point between B and top of Line 1. 

D is the length of shoulder to elbow from top of 
Line 1. 



Page Ten 



E is the inside measure from B. 

F is one and one-half inches below E. 

Line 3 is drawn at a right angle to Line 1 at F and is 
made the length of one-half the hand measure. 

G is at the left extremity. 

Line 4 is drawn from E to G and extended three-quar- 
ters of an inch beyond G. 

H is placed at left end of Line 4. 

I is one-quarter of an inch from E on Line 4. 

Measure the distance from E to H. In this instance 
it measures five inches. Place the 5-inch mark on square 
on I and measure to the left on Line 4 and make J at the 
mark indicating the hand measure which in this draft is 8 
inches. The distance from E to H plus the distance from I 
to J must always measure the same as the hand measure. 

K is one and one-half inches from D. 

From K to L is one-half the elbow measure. 

N and M are each one inch from L. 

Line 6 is drawn at a right angle to Line 1 at C and is 
made the length of two-thirds the armhole measure, 

is at the left end of Line 6. 

P is the midway point of Line 6. 

Q and R are each from one to one and a quarter inches 
from A on Line 2. 

The upper part of Line 7 is drawn by placing A curve 
on K and edge of square on B. 

The upper part of Lines 8 and 9 are drawn straight 
from M and N to P and respectively. 

The lower part of Line 8 is drawn by placing A on M 
and letting end of square extend toward J. 

The lower part of Line 9 is drawn by placing A on N 
and end of square toward H. 

The lower part of Line 7 is drawn by placing A on 
K and edge of square on E. 

Line 10 is drawn by placing A on K and edge of square 
on I. 

Draw the curve from P to B by placing the arrowhead 
on reverse of square on P and adjusting square to touch B. 

Draw the top curved line from B to R by placing B 
and R points in sleeve curve on reverse of square on B 

Page Eleven 



and R on draft. Continue on to Q and draw to O by placing 
R, Q and on square on these points on draft. 

TRACING AND CUTTING THE SLEEVE LINING. 
Lay the draft on the double lining and pin down care- 
fully. Have the center of the upper part from A straight 
down to Line 5 on the straight of the lining. First, trace 
Line 7 from K up to B, then K on down to E. Next, trace 
Line 9 from N up to and then from N on down to H. 
Tracing from the elbow up and from the elbow down 
keeps it from slipping. Trace Lines 4 and 5, also the line 
from B to R and on to 0. This finishes the upper part- of 
the sleeve. Unpin and remove the draft and cut, leaving 
three-fourths of an inch for seams on Lines 7 and 9 and 
three-eighths of an inch on Line 4 on top curve. Now pin 
draft back on lining again so that the center of the under 
part from Line 5 up will be on the straight of the lining and 
then trace Lines 7 and 8 from elbow up and Lines 8 and 10 
from elbow down ; also trace Line 4 between I and J and the 
top curve from B to P and Line 5 from K to M. Remove 
draft and cut, allowing the same for seams as in upper part 
of sleeve. If you prefer to cut a paper pattern, proceed in 
the same manner as given for the lining. 

SHIRTWAIST SLEEVE. 
Draft the sleeve on a folded piece of paper, having the 
folded edge next to you. Measure in one inch from the 
right and place the square so that its long arm will extend 
along the fold of paper and its short arm will be one inch 
from right edge of paper. Draw Line 1 along the short 
end, making it six or eight inches long. Make A and C 
each the length of one-third the armhole measure from cor- 
ner of square the same as in the tight-fitting sleeve. (See 
Fig. 61.) B is made one inch to the right of A on Line 1. 
Now move square down so that its corner will be on C and 
draw Line 2, making it the length of one-half the armhole 
measure plus one-half inch and make D at its other extrem- 
ity. While the square is in this position, measure down on the 
folded edge from C the length of inside measure minus 
two inches (or width cuff is desired) and make E. Squaring 
the folded edge at E, draw Line 3, making it the length of 
one-half the hand measure plus one and one-half inches, 

Page Twelve 



and place F at its left end. Make G one inch from F on 
Line 3. Squaring on Line 3 at G, draw Line 4, making it 
two inches long or as wide as cuff is desired. Squaring 
on Line 4, draw Line 5 from lower end of Line 4 across to 
folded edge of paper. (See Fig. 
61.) Draw Line 6 from D to F ; 
also the curved Line 7 from D 
to B and on to folded edge of 
paper, letting it extend about 
one-quarter of an inch above 
Line 1. This curve is drawn by 
placing R in sleeve curve 
on reverse of square on B on 
draft and letting O fall on D. 
The distance between Lines 

7 and 8 must never be more than 
one and three-quarter inches. 
The best way to get the width of 
this space is to measure to the 
left of C one-third armhole 
measure and make I, then place 
J one-half inch to the right of I. 
Squaring on Line 2 at J, make 
K half way between Lines 1 and 
2, then draw Line 8 through 
dotK. 

Draw the curved Line 8 from 
K up to Line 1 by placing R on 
K having straight edge of square 
toward you and letting curve 
touch Line 1 about half way be- 
tween B and end of Line 1, or a 
little nearer the fold. Reverse 
square (which will bring face 
up and the curved edge toward 
you) and place R on D and let 
curve touch K and continue line from K to D. 

Cut along Line 7 ; also along Line 6, and along Lines 4 
and 5. Cut the cuff off along Line 3, then trace Line 

8 its entire length, then open up sleeve and cut along the 
traced Line 8 for under part of sleeve. Fold it again and 

Page Thirteen 





y'^^ LINE-'-'l 




•y 


/ 


H 


/^ 


p LINE Z 


r 




•■I -^J 




V 






I- 


~-^2:f« LENGTH 




\ 


---^ LINL ?> 1 


f 






r 
Z 

^ LINES 





Fig. 61. 



Shirtv\aist Sleeve. 



measure in one and one-half inches on the lower edge from 
the fold on the under part, unfold and cut an opening, ex- 
tending it up about one-half the length of the cuff so that in 
laundering the cuff will lie open and can easily be ironed. 
(See dotted line in Fig. 61.) If more fullness is desired on 
the lower edge extend Line 3 beyond F and draw Line 6 
from that point to D. Either the square or rounded corner 
may be used on the cuff. Instructions for finishing the 
opening with an over and under lap and attaching cuff are 
given in a later lesson. Measure along Line 6 from D until 
it is the same length as from C to E and cut as shown by 
dotted line from Line 6 to Line 3. 

BISHOP SLEEVE. 

Lay the back edges of the two-piece sleeve together 
from shoulder to elbow as indicated in Fig. 62 and pin 
them on to a large piece of paper. Trace along the inside 
and top lines. If not much fullness is desired at the bot- 
tom use the upper dotted line in Fig. 62. If more fullness 
is wanted use the lower dotted line. It is a good idea to 
add an inch or so to the elbow measure for this sleeve. 

Occasionally one wishes to make a sleeve with an in- 
side seam and an outside seam from the wrist to elbow only. 
This is done by arranging the two-piece sleeve as 
shown in Fig. 62. Trace the outside and top 
lines, then trace the two inner lines from the bot- 
tom to elbow, then the two bottom lines, also the elbow 
line. Remove the two-piece sleeve draft, and instead 
of permitting the two inside lines to come together right 
at elbow, let them meet an inch above the elbow line. (See 
Fig. 62.) This is done by making a dot on elbow line be- 
tween the two pieces and then making dots one-eighth of 
an inch on either side and redrawing the lines through these 
dots to the inch mark above. This will obviate the pointed 
effect at elbow that would otherwise result. Now the up- 
per portion will be longer on the outside than the under 
portion, therefore measure down three inches on the under 
portion from the inch point above and make a dot; also 
measure down three and three-quarter inches on the upper 
portion and make a dot, then before seaming these two por- 
tions together gather the upper portion and place the dots 

Page Fourteen 




'■£:?i»«Ho^5,yiyi^-' 



FIG. 62 

Bishop Sleeve. 



Page Fifteen 



together and distribute the gathers evenly from the dots 
up to the top of seam. (See Fig. 62.) 

If a short puff sleeve is wanted, use the same draft as 
given in Fig. 62 and cut on the dotted line indicated for 
this sleeve. If an elbow sleeve is preferred cut on elbow 
line in Fig. 62. 

If a three-quarter length is desired cut on the dotted 
lines indicating three-quarter length in Fig. 62. 

Another excellent way of making the one-seam sleeve 
with seam to elbow on the outside is to lay the two sleeve 
pieces together as in Fig. 63. Use the one-inch point above 
the elbow and measure straight down from this point to 
the bottom part of sleeve and make a dot. (See Dot B in 
Fig. 63.) Make Dots C and D each one inch from B and 
draw Lines 1 and 2 from these dots up to the inch point 
above elbow. From C measure to the left, five inches in 
this case, as we are still using the same measurements as 
previously given, and draw a line and mark it Line 3. This 
line must be made to touch the dotted lower outline of 
the upper portion. From D measure to the right three 
inches and draw a line which must also touch the dotted 
lower line of the under portion, and mark it Line 4. (See 
Fig. 63.) Then draw lines from the end of these two lines 
letting them touch the foundation lines one inch above 
the elbow line, as shown by K and L. (See solid Lines 5 and 
6 in Fig. 63.) 

MOUSQUETAIRE SLEEVES. 
LTse the same draft as just given and measure 
straight down from -B eight inches and make Dot E. Make 
Dots F and G each one inch to the left and to the right re- 
spectively of E. (See Fig. 63.) Also make Dot H at a 
point one-half the distance between A and B and draw 
Lines 7 and 8 from F and G respectively up to H. From F 
measure to the left five inches and draw Line 9, also 
measure to the right of G three inches and draw Line 10, 
and then draw lines from the end of these up to the top of 
sleeve at inside seam. (See solid Lines 11 and 12 in Fig. 
63.) These lines will make the sleeve wider at the elbow 
than the measures taken, which is quite necessary, as the 
gathers required in a sleeve of this kind at the inside seam 
will bring the smaller part of the sleeve up higher. 

Page Sixteen 




LINE 9 Fl I JQ-LINEIO / 
LiMtii T LINE. 14- 

FIG. 63 

Mousquetalre Sleeves. 



Page Seventeen 



If no seam is wanted at all on the outside of the 
Mousquetaire Sleeve, measure straight down from B eight 
and one-quarter inches and make Dot I. From I measure 
to left five inches and draw Line 13, also measure to the 
right three inches and draw Line 14, then draw lines from 
the end of these lines up to top of sleeve at inside seam. 
(See solid Lines 15 and 16 in Fig. 63.) 

If a short Mousquetaire Sleeve is preferred, measure 
down from B just one-quarter of an inch and make Dot J 
and draw the five and three inch lines (see Lines 17 and 18, 
Fig. 63) , and then draw the inside lines (see Lines 19 and 
20, Fig. 63) up to top of sleeve. The inside lines will be 
an inch longer than the measure, but this is taken up in 
three or four small pin tucks across the inside seam at the 
elbow after the sleeve is seamed up. These tucks are made 
three or four inches in length. 

LEG-O'-MUTTON SLEEVE. 

Use the foundation draft as given in first part of les- 
son and extend Line 5 one inch to the left of N and mark S 
at its extremity. (See Fig. 64.) Draw Line 11 from S to 
H similar to the way Lines 8 and 9 were drawn below elbow. 

Make a slipknot in a piece of cord or string and place 
point of pencil through loop and draw the knot up close to 
pencil. Place the point of pencil on and placing fore- 
finger holding cord on N, swing pencil from out to the 
left, making a curved line three or four inches long and 
mark it Line 12. From measure out on Line 12 one- 
sixth of the armhole measure and make T and then continue 
Line 11 from S up to T. 

Next place corner of square (face up) on T and long 
arm touching B and mark U at the midway point. (See 
Fig. 64.) While square is in this position make Dot V 
one-half inch to the right of T and W one-half inch to the 
left of B. Again placing pencil in the loop of cord, place 
the point on V and holding forefinger on U draw a half 
circle from V to W. (See Line 13, Fig. 64.) Be very care- 
ful not to let the cord slip or the line will not come down 
exactly to W. Using armhole of square, draw slightly in- 
ward curved lines from T and B to touch Line 13, about 
two and one-quarter to two and one-half inches above the 

Page Eighteen 



LINE.I3 




FIG. 64- 

Leg: O'SIatton Sleeve. 



Page Nineteen 



Dots V and W. This forms the upper part of sleeve, while 
the under part remains the same as in the coat sleeve. 

Thus, you see, the foundation of all sleeves is the plain 
two-piece sleeve as given in first part of this lesson, and for 
any sleeve, however fancy, this foundation is used. 

When a tight, glove-fitting sleeve is made, great care 
must be exercised in the shape at the top and in the elbow ; 
otherwise you will have a sleeve in which you cannot raise 
the arms or bend the elbow with any freedom. This sleeve 
must be fitted to the arm and in the armhole as carefully as 
any other part of the waist. It is a good idea to take a 
measure around the upper part of arm about midway be- 
tween the shoulder and elbow and also around the lower 
part of arm midway between elbow and wrist, then test 
the draft at all points before cutting. 

It is always advisable to draft a sleeve pattern for 
each patron from her own measurements. Dressmakers 
too often make the mistake of trying to make the same 
sleeve pattern do for every one, and hence in a number of 
cases a poor fit is obtained. No two persons are exactly 
alike, some arms are long from the shoulder to the elbow 
and short from the elbow to the wrist, and some are the 
reverse; some are large around the upper part of the arm 
and small around the lower part, and vice versa. 

Every beginner and most dressmakers consider the 
making of the sleeve the most difficult part in all their sew- 
ing, yet it need not be if it is given the attention from the 
start that it deserves, and is thoroughly mastered. It is, 
however, one of the most important parts in the making of 
a costume. 

Nothing is more uncomely and uncomfortable than an 
ill-fitting sleeve. It is, therefore, very necessary that in the 
first place correct measurements are taken; secondly, that 
the drafting is accurately done ; third, that the cutting and 
the basting are carefully and minutely done; fourth, that 
the sleeve is put in the armhole in the right position. Much, 
however, depends upon the basting and the location of the 
elbow, since a little carelessness in either direction may re- 
sult in a very unsightly appearance. 

Page Twanty 



J! 

"^ i 
< 
























4 

Hand 
Measure 
























3 

Elbow 
Meainre 






















2 

Inside 
Meainre 
























1 

Length from 

Shoolder to 

Elbow 














































Si 

< 

as 
























o 

X 


1— « 


CN 


CO 


^ 


en 


CO 


IN 


00 


05 


O 





T3 



X! 



Page Twenty- One 



QUESTIONS. 

1. Why is it necessary to test all the measures? 

2. Explain briefly how to test each measure. 

3. (a) How is the lining arranged before pinning 
drafts on? (b) On what lines are the front and back sec- 
tions cut apart? 

4. (a) Explain the cutting of the center front sec- 
tion, (b) The side front section, (c) The center back 
section, (d) The side back section. 

5. (a) Of what must one be careful when tracing? 
(b) If front is preferred left in one piece, how is it traced? 

6. (a) How many measures are used in the two- 
piece sleeve draft and what are they? (b) How is each 
taken? 

7. (a) How are dots A and B found in sleeve draft? 
(b) What determines the length to D ? (c) The length to E ? 

8. (a) How long is Line 3? (b) wnat determines the 
length from I to J? (c) How far is K from D? 

9. (a) How long is Line 5 from K to L? (b) How 
are points O and P determined? (c) R and Q? 

10. (a) Explain fully the tracing and cutting of up- 
per part of sleeve, (b) The under part. 

11. (a) How are points A and C gotten in a shirt- 
waist sleeve? (b) How are points E, F and G determined? 

12. (a) How are Lines 7 and 8 drawn? (b) How 
far from the fold on the under side should the opening for 
cuff be placed? 

13. How is the two-piece sleeve arranged to cut a 
Bishop sleeve? 

14. How is a sleeve with an outside seam to elbow 
drafted? 

15. Explain how the long Mousequetaire sleeve with 
an outside seam to elbow is drafted. 

16. How is the above sleeve drafted with no outside 
seam to elbow? 

17. How is a short Mousequetaire sleeve drafted? 

18. What changes are made in the two-piece sleeve for 
the Leg-0'Mutton Sleeve? 

19. What is the foundation of all sleeves? 

20. Why is it advisable to draft a sleeve for each 
patron? 

21. Draft a sleeve from the following measures and send to us 
for inspection : length of sleeve from shoulder to elbow, 13 
inches; inside measure, 16 inches; elbow measure, 10 inches; 



THE 

AMERICAN SYSTEM 

OF DRESSMAKING 



A Course of 

Instruction by Mail 

in the 

Science and Art 

of 

Successful 

Dressmaking 

And Ladies' Tailoring 



Lesson No. 4 



The American College of Dressmaking 

(Associated Training Schools, Proprietors. ) 

KANSAS CITY, MO., U. S. A. 



Copyrighted 1906, 1907, 1908 and 1909 
by J. M. Stelle 

Copyrighted 1910 and 1911 
bp Associated Training Schools 



jJll rights reserved. 



Printed in the United States. 



%\)t 



American s>p^ttm 

TAUGHT ONLY BY THE 

ameritan College of Bressmafeing 
i&ansas Citp, JHo. 

Miss Pearl Merwin, Supervisor. 

Lesson No. 4 

BASTING LINING OF WAIST. 

We will now take up the lining of the waist where we 
left off in Lesson 3 and proceed to put it together. Proper 
basting is a very important factor in the fitting of a gar- 
ment, and should be learned as correctly as any other part 
of dressmaking. 

Thread a needle with colored cotton thread, and baste 
along in small stitches on the waistline in each part of the 
waist, also in the front tracings, or Line 8. This will 
enable you to always know just where those lines are and 
will aid you in putting the waist together, and in fitting. 
Leave them in until the waist is finished. Also overcast 
the neck and armhole edges to keep them from stretching. 

Use basting cotton No. 50 for basting the seams and 
always make short stitches so the seams will not gap when 
fitting. 

First, baste the darts beginning at the top, and baste 
down ; be sure and keep the traced lines together. This can 
be done with more exactness if they are first pinned 
together. 

Next baste the two center backs together. Begin first 
by pinning them together at the waistline and then on up, 

Page Three 



and baste from the waistline up and from the waistline 
down, keeping the traced lines together. Now baste on 
the side forms that fit next to the back, pinning them at 
the waistline. 

Baste the shoulder and then the under arm seams. 
Proceed in the same manner in basting the under arm 
seams as given for basting the backs. Instead of basting 
the shoulder and under arm seams on the side as the 
others are basted, baste them on the opposite side; then 
when fitting, if any changes are to be made, they can 
be made at these seams with very little trouble. 

BASTING THE SLEEVE LINING. 
First, baste the inside seam. Begin 
at dot K, and pin it together each way, 
pinning up from K to B and down from 
K to wrist and then baste it. The up- 
per part of the sleeve is much wider 
than the under part. To make the 
back seam, place the top edges of the 
upper and under parts together and 
pin them; also pin on down toward the 
elbow until within two inches or such 
a matter of the elbow, keeping the trac- 
ings together; then baste it. Now pin 
the parts together at the wrist line and 
on up to within two inches of the el- 
bow, and baste it. If the upper part 
is found to be a little longer than the 
under part of the sleeve gather this 
extra fullness and adjust it in this 4- 
inch space at elbow and baste it. (See 
Fig. 65.) 

Lay the sleeve on the table or some flat surface with 
the upper part down. If it is basted properly it will lie 
flat and smooth except the fullness at the elbow; if not 
basted properly, it will twist. If the upper part of the 
sleeve draws in toward the elbow (after it is basted), there 
is too much fullness at the elbow; draw out the basting 
and let enough of the fullness out to make it set smooth. 
If it draws away from the elbow, there is not enough full- 
ness there. Again the importance of correct measure- 
Page Four 




Fig. 65. 

Fullness of Sleeve 

Lining at Kibow. 



ments is shown, for if the elbow measure is a little too 
high or too low, the seam may have to be rebasted and 
the elbow put in the proper position. 

FITTING THE LINING. 

The next important step after the basting is the fitting. 
If the measurements were accurately taken, and the calcu- 
lations and drafting were properly done, and great care 
was used in the putting together and basting, there would 
be no alterations to make and a perfect fit would result, if 
the form you are fitting is normal. 

Put the waist lining on the person to be fitted and have 
her stand in a natural position. First pin it at the neck 
and then on down to the bust, allowing the front tracings 
to come just together. Do not lap it, but pin it like you 
would a seam. Next pin the waistlines together and then 
on up to the bust. 

Now notice the bust. If it appears too tight, allow 
more room by letting out the under arm seams. If too loose 
make these seams a little larger. Do not fit it too tight 
over the bust. Note the waist in general ; if too large, take 
it in on the under arm seams. Sometimes it will be neces- 
sary to take some of the surplus out at the seam running to 
the shoulder, but you will have to use your own judgment 
largely in this. See that the lining does not draw from the 
darts to the under arm seams; it must fit perfectly smooth 
there. 

Notice if the darts are in the right position. If they 
seem too low, raise the front at the shoulder seam; if too 
high, lower the front at the shoulder seam. Sometimes 
they may need running just a little higher, or they may 
need to be basted a little lower. 

Next fit the shoulder. If you have to open the seam, 
place one hand on the back and the other over the front and 
smooth them both up at once toward the shoulder, notic- 
ing that they fit up to the neck right. 

Now look at the armhole. It should fit quite close. Do 
not be in too big a hurry to trim it out, for remember that 
a three-eighths-inch seam must be taken off when the sleeve 
is sewed in, and this will make the armhole about one inch 
larger. Of course, if it fits too snug and feels too tight, it 

Page Five 



may be trimmed a little or clipped in several places but be 
careful not to make the clips too deep; do not cut out too 
much in the back and over the shoulder. A wide back is re- 
quired when the shoulders are to be fitted long, but the back 
is narrower if the shoulder is fitted short. 

If the lining wrinkles much in front when the arms 
are down, it is too high under the arms and needs trim- 
ming out. If the arm hole is too large make the shoulder 
and under arm seams a little larger. Occasionally there will 
be a little fullness in the armhole right in front of the bend 
of the arm that cannot be taken out. In such a case take a 
small dart about one-fourth of an inch deep in the lining 
and one and one-fourth inches long, letting it extend out 
toward the top of the back dart; this gives a good spring 
over the bust. 

If the lining is too loose across the shoulder blades, 
make the seams a little larger. See if the waistline in the 
back is in the right position. Observe height of the neck 
in the back. Notice if the side bodies are the right length, 
setting well down to the form, and if the waist is high 
enough under the arms. 

If the center back and side forms set close to the figure 
and well at the armhole, most of the changes can be made in 
the under arm and shoulder seams. The darts and curved 
seams will not often have to be altered. If the curved seams 
bulge out any, pin them in. If the back draws across the 
upper part, let the center seam out a little. If it is too large 
at the waistline and taking it up under the arms throws the 
curved seams too far forward, take the center back seam 
up a little. It is advisable to fit as broad across the shoul- 
ders as can be worn and without its bulging in the back. 
Trim out the neck sufficiently to be comfortable. Do not 
have it too high in front or too low in the back. 
Page Six 



FITTING THE SLEEVE LINING. 

Before taking the waist lining off, fit the sleeve lining. 
A line drawn diagonally from J to armhole curve will give 
the proper point on curve at which to place the seam of 
the sleeve. Adjust the sleeve in the proper position; draw 
it well up under the arm so that the elbow is in the right 
location, and pin the sleeve in the armhole at the inside 
seam and around under the arm almost up to the shoulder 
seam. Now have the person bend her arm back and forth 
and you can readily tell if the elbow is correct; if it is too 
high, lower it; if too low, raise it by adjusting the seams. 
If the sleeve is too loose, take up a little on each seam; the 
shape of the sleeve is much better retained by altering 
both seams. Of course, if the sleeve is just a trifle too 
small or too large, the change may be made in just one 
seam. If there are changes to be made above the elbow, 
make them there and not below ; the same applies to changes 
made below the elbow. Make the sleeve the desired length, 
being very careful not to get it too short. Fit it as long 
as can be comfortably worn, as sleeves shorten with the 
wearing. 

Of course, you will not need to make all these changes 
in one fitting, but they will appear from time to time, and 
as said before, the more accurate the measurements and 
drafting are done, the fewer changes will have to be made. 
This requires much practice and patience, and the more 
practice and experience you have, the sooner you will reach 
perfection. 

Carelessness in basting the sleeves may cause you to 
think that it has not been properly put in or is not cut 
correctly. Every remedy but the true one is tried; the 
armhole becomes disfigured and stretched by much bast- 
ing and trying on, and the sleeve is ruined by too much 
trimming and twisting. 

Now remove the lining. As you take the pins out of 
the fronts to open it, be sure and place them back in one 
front just where you removed them; also mark the point 
in the armhole where the inside seam of the sleeve is 
placed. It is a good idea to take a needle and thread and 

Page S«ven 



ran around with small stitches in all changes you have had 
to make. 

Mark the changes in the shoulder and under 
arm seams and trim them evenly before taking out 
the pins. In order to have both sides just alike, fold at 
under arm seams, and at the waistline in the back, and then 
trace all of the sewings where changes were to be made in 
the one side, on to the other side. Open the sleeve and trace 
on to the other any changes that may have been made. 

If one shoulder is a little higher than the other, trace 
the highest one and then pad the other. 

STITCHING LINING AND FINISHING SEAMS. 

The stitching is now ready to be done. Stitch all but 
the shoulder and under arm seams. Do not stitch in the 
basting threads, but as close to them as possible, as it 
makes them so hard to draw out. After stitching them, 
trim them off evenly. Stitch all the seams the same way, 
either from the bottom or the top, and be sure the needle 
is on the waistline before the turn is made; otherwise you 
may lengthen or shorten the waist a trifle. Overcast or 
bind them, as best suits your convenience. This will pre- 
vent any fraying out of the seams. If you overcast them, 
use small, even and very shallow overhand stitches and 
do not draw them very tight. If you bind them, use seam 
binding, or a bias strip of lining, sewing it along the edges 
of the seam and arranging it so as to sew both edges of the 
binding at the same time; do not draw the stitches too 
tight. Both edges of the curved seams are to be overcast 
or bound together, but each edge of the center back and 
darts must be overcast or bound separately. 

ARRANGING FOR HOOKS AND EYES. 

Cut a straight piece of lining two inches wide and 
a little longer than the front edge of the lining. This 

Page Eight 



will serve as a facing for each front where it is not 
hemmed. Place a strip on the outside of the lining with 
one edge even with the edge of the front, and stitch a seam 
three-eighths of an inch back of the edge. Turn the facing 
over so that its free edge will come on the inside of lining, 
making the fold come just back of the seam, and stitch one- 
eighth of an inch back of the edge; make another row of 
stitching three-eighths to one-half of an inch beyond the 
first row and into the casings thus formed run a piece of 
whalebone or featherbone and tack it in place. 

Now mark the space for the hooks and eyes. Cut a 
piece of cardboard the length of space you want between 
the hooks and eyes, which is usually about one or one and 
one-half inches, and lay it on the edges of the fronts and 
mark both fronts by tracing or with tailors' chalk, from 
the waistline up to neck. A very satisfactory method of 
marking the places for the hooks and eyes is to lay the 
fronts together so that the front line of one will come di- 
rectly over the front line of the other, Mark the spaces 
on the top front, then trace these markings on to front 
beneath, and in this way there is no possibility of the eyes 
on left front not being directly opposite the hooks on right 
front. Place the hooks on the right front about one-eighth 
of an inch back, and sew through the two rings at the 
back and also around the hook end, sewing this to the row 
of stitching near the edge. Place the eyes on the left front 
about one-eighth of an inch out. Sew entirely through the 
rings and also over the eye along the edge of lining, 
allowing the stitches to show on the outside of the lining. 
Be sure to place the bone in the fronts before sewing the 
hooks and eyes on the lower part of the fronts. Turn 
under a seam at the edge of the facing strip and pull it 
up under the hooks smoothly and overhand or hem it down 
neatly. 

SECOND FITTING. 

The lining is now ready for the second fitting. Urge 
your patrons at all times to wear smooth underwear; also 
to wear a good corset and to have it the same each time 

Page Nine 




they are fitted. Once in a while a patron will lace dif- 
ferently and cause a great deal of 
trouble in the fitting in this way. 
You cannot secure a perfect fit 
over bunglesome underclothes or 
over an old, broken-bone corset. If 
you find that these defects are true 
of a patron, do not hesitate to call 
her attention to it. 

Sometimes after boning a 
waist it is a little too tight. If so, 

Fig. 66. 

let it out in the under arm seams, *''*"i!' f* *•««»*»•»&. 

' At Armhole. 

as they have not yet been stitched. Now notice if any pad- 
ding must be done, and if so, mark the place. If one shoul- 
der is higher than the other, a more perfect fit is obtained 
by padding the lower one. If there is a hollow in the cen- 
ter of the back between the shoulder blades, put in a small 
pad. If there is a hollow place under the arms, pad it; 
if these pads are made after the fashion of a dress shield 
and sewed in after waist is finished, more pleasing results 
follow. 

For padding use cotton batting which comes in sheets. 
When more than one layer is needed to fill the hollow, make 
the first layer to fit the place to be padded, then the next 
one a little smaller, and so on until it is filled. If you will 
pull the cotton out at the edges instead of cutting it, the 
padding will not show where it begins. If you are obliged 
to cut it for some places, pull out the edges afterwards. 
If the material for the outside of the waist is of heavy 
goods, the padding may be placed between the lining and 
the material ; if not, it will have to be placed on the wrong 
side of the lining and then covered. 

A very satisfactory way to make the waist appear 
fuller through the bust when it is necessary is to wear a 
corset cover which has two or three ruffles across the front 
about three and one-half inches wide, sloping off to about 
two inches wide at the arm hole and the under arm seam. 
These ruffles are very pretty, made of embroidery, although 
they may be made of bias crinoline. If the arms are long 

Page Ten - 



and thin, padding may be used between the elbow and 
shoulder in the sleeve; a better way, however, is to plan 
the waist with sleeves that are trimmed to enlarge the ap- 
pearance of the arms. 

FITTING A LINING OVER A FORM. 

One of the greatest difficulties in making one's own 
clothes is the necessity of having to try on again and again, 
and it is not always easy to ascertain whether the desired 
effect is being produced or not. It is, therefore, of the 
utmost importance when one is making her own dresses, to 
possess a form of her own bust measure upon which to 
drape the waists and skirts. It is almost impossible to fit 
one's self without it. They may be purchased in any size. 
If you are sewing for others, you may need several sizes. 
However, adjustable ones are manufactured now which can 
be made any size desired. The size of the form is based 
upon the bust measure. 

To prepare a form for your own personal use, cut a 
lining from heavy unbleached muslin or from cotton duck, 
or some strong material, and have it fitted perfectly to 
your own figure. Place the lining upon the form, draw it 
well on and pin the fronts together from one to two 
inches from the neck down, and up two or three inches from 
the bottom — just enough to hold it firmly on the form, but 
open at the bust line. If the lining does not fit the form 
perfectly, do not try to make it do so, but make the form 
to fit the lining. Pad between the form and lining with 
batting, tissue paper or scraps of cloth until the lining fits 
the form as smoothly and evenly as it did you. Especial 
care must be given to the shoulders and neck; if the lining 
is too long waisted for the form, raise it up by padding 
more under the shoulders. If too loose in the back, fill it 
up there. When the form is firm and will not dent in 
handling, sew the two front edges together with an over- 
hand stitch. 

This will require a great deal of care, but you will 
find it well worth your trouble, because it will simplify all 
the work in the future and save many fittings. Leave the 
lining always on the form and fit your waist over it. You 
can fit and make shirt waists on this form without ever 
trying them on, and be assured of a perfect fit, since all 

P-a^ Eleven 



the imperfections can be easily seen and corrections made. 
When fitting waists that have a lining, fit the new lining 
right over the lining you have just put on the form. 

PRESSING. 

Careful pressing is the most important part in dress- 
making. You cannot hope to attain the desired results un- 
less this is properly done. Special pressing boards may be 
purchased from dressmakers' supply houses, but home- 
made ones answer the purpose quite as well. A narrow 
iron is more preferable for pressing seams than a wide 
one, but in the average household the ordinary flatiron will 
be chiefly used. While it has long since been the custom 
to press the seams open with the point of the iron, a much 
better result is obtained by using the square end, as the 
edges of the seam are thus spread out evenly at the same 
time that the seam is pressed. 

Open the seams in cloth dresses and dampen with a 
wet sponge or cloth and press hard until thoroughly dry. 
Do not press velvet by setting a flatiron on it. Lay the iron 
on its side with a damp cloth over it and open the seams 
and draw them across the edge of the iron. Soft fabrics, 
such as silks, cashmeres, etc., do not require dampening. 
Do not use an iron that is too hot, as the heat takes out 
the dressing and leaves the silk soft and old-looking; move 
the iron quickly and smoothly over the seams. For sleeves, 
a small sleeve board made of hard wood is used. 

In making up goods that shrink, such as linens, duck, 
etc., it is best to shrink them before making them. Place 
them in hot water, dry and press well. Haircloth and can- 
vas should also be thoroughly dampened and pressed before 
it is used; otherwise, if the dress becomes damp the hair- 
cloth and canvas will shrink and ruin the looks of the dress. 

On account of its springiness, woolen material should 
be slightly stretched down in length and basted more closely 
to the lining. In open-meshed goods, where the threads are 
quite prominent, great care must be used in the stretch- 
ing or the threads will be crooked. 

When basting velvet, plush, corduroy, etc., baste as 
close to the edge as possible, as the basting threads often 

Page Twelve 



break the pile or nap down and leave a mark. Wlien 
stitching these materials, stitch against the pile and the 
seams will show less and the goods will not push ahead of 
the presser foot. After stitching the seams, clip every 
stitch or two of the basting and remove at once. Clipping 
the basting in this way will leave the seams smooth and 
will leave no marks, whereas, if you undertook to draw 
out a long basting thread it is likely to cut the pile on 
velvets and plush and split silks. Remove all bastings from 
such materials as soon as possible. 

The following illustrations show 26 different forms 
of Warren Featherbone. Any of these can be purchased 
by writing direct to the manufacturers, and the machine at- 
tachment which is mentioned can also be purchased at the 
same place. Their address: Warren Featherbone Com- 
pany, Three Oaks, Mich. 



Piping: Bone. 



Gros Grain Collarbone. 



Nenrsllk Collarbone 



Taffeta Collarbone. 



Standard. 



Cablebone. 



Skirtbone. 



Woven Silk Collarbone. 



Collarbone. 



TVo. 2 Grade. 



<t. I ^ / » r t r t t. / / r /■ r 1^ ' ' ' r f r t ^ ^ f t , 



3 Cord Tape. 



U4.-u,im/fM0ugritt.-j,^f._if^f^-fff!tftfr'-- 



Slnglecord Collarbone. 



Hook and Eye Bone^^-ln. 

Page Thirteen 



Double Cord Skirtbone. 



Tailors' none. 




5 Cord Tape. 




Quillbonc. 





Gros Grain Silk. 




A'ldaaian. 




Shellbone. 



S?Sfii5i-JAiV 




H.-M. Tape. 




Cotton Ribbon. 

Page Fourteen 



«>--V vV*\V*V. 



10 Cord Tape, 



IMPORTANT. 

Don't try to use Warren's Featherbone until you have 
read the instructions. Don't try to use Warren's Feather- 
bone for waists without the Boning Attachment. Don't 
make the mistake of thinking that one style of Warren's 
Featherbone will do for all purposes — it ivill not. There 
are 30 styles of Warren's Featherbone for the dress alone, 
composed of different amounts and qualities of quill fibers, 
hence vary in weight and degrees of flexibility. There are 
10 styles of covered and 5 styles of uncovered bone for the 
waist, 12 styles for the collar, Featherbone Crinolette and 
5 styles of bone for the skirt and 4 styles of Featherbone 
cord used for cording, piping and shirring. 

Dressmakers should be acquainted with all the differ- 
ent styles of Warren's Featherbone and know for which 
kind of work each style is adapted, and use the size or 
style of bone which will give the best results in the work 
on hand. As it comes in 12 and 36 yard lengths, and may be 
obtained in any quantity, there isn't a particle of waste, 
because you cut off just what you need. 

All dressmakers know that the secret of a perfect 
fitting waist is to have it properly boned. As Warren's 
Featherbone is stitched fast all the way to the seams by 
machine, it becomes a part of the waist, holding the seams 
permanently in place. 

,.^ SPRINGING IN THE BONES. 

"Springing" is simply stretching the goods so that there 
is more bone length than seam length. This curves the 
waist toward the figure, therefore the amount of spring 
required depends upon the amount of curve to the figure. 

TO BONE A WAIST. 

Be sure to use sewing silk, a very long stitch and 
medium-sized needle. 

All the seams must be carefully pressed and finished 
before beginning to bone a waist. Straighten the bone by 

Pag« Fifteen 




Fig. 67 



drawing through the fingers to 
remove the curve caused by coil- 
ing in the box. 

Place the featherbone wrong 
side up under the machine foot, 
pass the needle through the cen- 
ter of the bone, in the center row 
of stitching, allowing one inch 
to project back of the needle for 
finishing the ends. Draw the 
bone straight toward you, drop 
the presser foot, then place the 
boning attachment over the bone 
so as to guide it under the needle 
(as shown in Fig. 67), securing 
it in place by tightening the 
thumb screw. Now raise the 



needle and presser foot and you are ready for boning. 



DARTS. 

Place the waist wrong side up on the machine (as in 
Fig. 68). Begin by boning the first dart. Lay the flatly 
pressed open seam on top of the 
bone and boning attachment so 
that the bone is right in the cen- 
ter of the seam (see Fig. 68). 
Put the needle down about one 
inch below the top of the dart 
close to the seam stitching, 
crowd the goods (using the fore- 
finger of each hand) up to the 
needle, lower the presser foot, 
being sure the fullness starts 
right with the first stitch 
or from the needle. (See arrow. 
Fig. 68). This is an important 
point as it prevents the bone 
from showing at the top or caus- 
ing a little plait above the top dart. Continue crowding to 
within one inch of waistline, cutting bone the required 
length, following the seam stitching very closely, but never 

Page Sixteen 




Fig. 68. 



in the same stitching, holding the seam firm. Bone both 
darts alike without crowding for two inches, then crowd to 
the bottom of the waist. 

UNDER ARM SEAM. 
Begin to bone two inches from the top, crowd seam for 
two inches, for extra thin material hold seam easy to with- 
in an inch of the waistline then spring ; for regular weight 
material hold the seam firm to within an inch of the waist 
line, then spring bone by raising the waist back of the press- 
er foot and pressing it close up against the foot, at the same 
time holding the seam tight in 
front (see Fig. 69) to the bot- 
tom of a short waist. For tea 
gowns, princess gowns, long 
basques or coats, spring for 
only two inches at the waist 
line, then crowd the goods to 
the end of the bone, giving the 
curve over the hip and pre- 
venting any tendency in the 
waist to roll up. 
BACK UNDER-ARM SEAM. 
The next seam back of thef 
under-arm seam is the im- 
portant one to be kept smooth 
its entire length, it is boned 
the same as the under-arm seam, 
to within one inch above waistline. 




Fig. 69. 



This seam is crowded 



OUTSIDE BACK SEAM. 
The outside seam is boned only on its straight length, 
that is, begin to bone where the rounding or curving termin- 
ates, proceed as before, crowd the goods to one inch above 
waistline, hold seam firm for two inches, then crowd the 
goods to the end of the bone. 

CENTER SEAM. 
Begin one inch higher than the rounding seam, crowd 
to one inch above waistline, then hold seam very firm. 
The waist is now half-boned. Keep on toward the right 
front of waist, boning as directed, thus working from back 
to front on last half of the waist. 



Page Seventeen 



FINISHING BONES AT TOP. 
You have on each seam allowed an inch of bone to 
extend beyond the needle; 
first tie the thread so the 
stitching cannot rip, rip the 
center row of stitching out of 
the extended bone, slip the 
casing back and cut the bone 
off one-half inch, rounding 
the corners; then turn the 
casing loosely over end of 
bone and fasten to bone and 
not to seam of waist, thus 
leaving one-half inch of bone 
loose at top of each seam. 
(See Fig. 70.) 

TO RIP FEATHERBONE. 

from the waist, begin at the 
top and with sharp scissors 
inserted between the bone and 
seam, run them quickly down 
the bone, cutting right through the stitching 




Fig. 70. 



HOOK AND EYE BONE. 

Take off the boning attachment, lay the waist right 
side down on the machine. Have the hem opened out 
flat; place the bone inner curve down on the hem of 
waist outside the edge line, close to it, from four to six inches 
above the waistline. Place needle in the end of the 
bone, then cut the bone the required length. Hold the 
bone in place, keeping it close to the line, then crowd the 
waist a little, all the way to one inch above the waist 
line. Then spring the bone by holding it up and the 
waist tight, for two inches at the waistline, one inch 
above and one inch below. Crowd the remaining length 
of the bone. 

Place a second Hook and Eye bone outside of the 
first bone attached and stitch ; turn the hem over to the edge 
line and stitch through each bone again the length of the 
bone. 

Coming styles indicate separate waists, in which 

Page Eighteen 



case crinolette will be very good to use in finishing off 
the bottom of the waists. Turn the crinolette back so 
the cord comes on the edge and turn the edge of the 
waist up over this. It will prevent the edge from 
stretching. The crinolette can be trimmed narrow if 
desired. It is used at the top of collars and at the edge 
of the half-length sleeves, to keep them in shape. 

THREE CORD TAPE. 

A prominent dressmaker has declared that three cord 
tape has been of the greatest assistance to her as both 
a labor and time saving device. For instance, instead 
of using silk ruffles to pad a waist, fit the lining as 
loose as it needs to be, extended over the bust, stitch a 
strip of casing across the bust from armhole to arm- 
hole. Slip in a piece of three cord tape, the inner curve 
to the figure, using as much tape as the waist needs to 
be extended. Then fasten at intervals with the needle. 
Do not stitch it in with the machine. It is easier for 
the draper to arrange the drapery over the lining and 
the waist does not get out of shape, as is the case with 
ruffles. 

TO BONE COATS WITH THREE CORD TAPE. 

To prevent a coat breaking between the armhole and 
the bust pad use three cord tape from the deepest curve of 
the armhole to one inch beyond the break. Have the 
inner curve of the tape on the outside of canvas or 
shrunken cambric interlining. Have the tapes one-half 
inch apart at armhole. Spread fan shape to required 
length. Stitch each side of the tape with a very long 
stitch, using as many pieces as the size of armhole re- 
quires. 

If there is a break at the back of the armhole the 
same as at the front, the tape can be used the same 
way. Always lay a thin piece of sheet wadding over the 
tape to prevent tape showing in the pressing. 

One large establishment which has used this in 
every coat for sometime, states: "Coats are worn so 
broad across the chest that there is apt to be a break 
when the sleeves are placed in the armhole." Some fig- 
ures are very hard to fit in a coat across the shoulders. 
A dressmaker overcame this by putting a piece of inter- 
Page Nineteen 



lining from the neck down to the end of the armhole, 
fitting it in with the shoulder seam, also with the sleeve 
seam. Midway between the shoulders she stitched a strip 
of casing from armhole to armhole, and then slipped 
in a piece of three cord tape, inner curve to the figure. It 
served to keep the back in place. 

Dressmakers, in making unlined waists for their cus- 
tomers, put a piece of percaline or lining silk, shield- 
shape, from the shoulder around to the underarm seam, 
then around the back to the shoulder seam. They stitch 
on casings of Prussian binding, beginning at the deepest 
curve of the armhole, extending them out over the bust 
as far as needed, and using as many as the customer re- 
quires. This shield is adjusted to armhole. The tape 
must not extend beyond the stitching in the sleeve. In 
case the customer is hard to fit back of the armhole, these 
tapes could be used the same way. 

COLLARBONE. 

Four to six bones are used in boning a collar as 
best suit the wearer — two or three bones on a side. Be 
sure the collarbone has the curved side to the neck, 
and the collar is held slightly full on the bone, other- 
wise it is apt to bulge on the side of the collar. When 
using collarbone push back the silk cover, cut off a small 
piece of bone, then turn the stitched side straight across 
the bone. That will give a bias end. Turn the bias 
back. That will give a mitred end, preventing the bone 
from coming through. This will also support the lace 
at the top of collar. 

There is a new nearsilk collarbone that will not turn 
yellow in the laundering. 

DRAFTING A SHIRTWAIST. 

The term "shirtwaist" covers a very large field, em- 
bracing the perfectly plain waists of linen, gingham, per- 
cale, madras, etc., with a single box plait down the front 
and tucks over the shoulders, and proceeding through the 
different degrees of elaboration to the more costly ones of 
silk, lace, chiffon, etc. Not so much care and skill is re- 
quired in the making of a shirtwaist, but a careful fitting 
is needed to make it appear "chic." 

Draft the back and front the same as given in Lesson 

Page Twenty 



J 




Figr. 71. 

Miniature Shirt AVaiKt Draft. 

2, adding one inch to the original bust measure, until you 
come to the darts in front and divisions in the back, which 
do not draft — simply outline the back and front. (See Fig. 
71.) Since the shoulder line should come a little more to 
the front in a shirtwaist than in a tight-fitting lining, raise 
the back shoulder line one-half inch at M and lower the front 
shoulder one-half inch at 0, (See dotted shoulder lines in 
Fig. 71) , and use these lines to cut by. 

Make S one-half inch from F and draw Line 19 from 
S up to B. Make T one and one-half inches to the right of 
Z and U one inch to the left of Z and draw Line 20 from T 
to K by placing A on face of square on T and letting edge 

Page Twenty-One 



of square touch K. Move square up so that A will fall on 
K and armhole edge on U and draw Line 21 from U to K. 
Draw Line 22 from U through R to Line 8 by placing square 
face down so that A curve will fall about half way between 
U and Line 8. Extend the lines three inches to five below 
the waistline as shown in Fig. 71. 

The pattern is now ready to cut the waist material, 
if there are to be any tucks or plaits, or tucks and inser- 
tion, they must be put in before it is cut out. If you do the 
tucking on a machine with a tucker, be sure the tucker is 
adjusted right. Try it beforehand on a piece of the same 
material ; if you try it on a heavier or thinner piece of goods 
the tucks will not look the same in the waist as in the 
sample. 

Place Line 8 on the straight edge of the goods, and 
markstitch all around the edges, then cut, allowing for hems 
and seam. Give plenty of spring over the hips and allow 
four or five inches below the waist line. Be sure and have 
both fronts just alike. Lay the tucks from the neck and 
shoulder to the bottom of the waist so as to keep the goods 
straight while cutting and the waist will not draw across the 
bust. You can stitch them as far down as you desire. 

Place the center of the back on a straight fold of the 
goods, and also markstitch around the edges then cut, and 
remember to allow for all seams. 

A great many women experience considerable difficulty 
in getting both sides of the waist tucked alike. Either the 
tucks will be a little narrow, the space between a little wider, 
or in the case of graduated tucks, the length on one side will 
not correspond to the length on the other. As stated above, 
all tucking should be done before cutting. To do this suc- 
cessfully, measure the length of the front from shoulder 
seam to lower edge or as long as the front is desired, on 
the material of which the waist is to be made. Then dou- 
ble this over, which will enable one to mark both fronts at 
once. Decide how far down the tucks are to extend and put 
a pin at either end, using the shoulder line for the center of 
the length; then mark from pin to pin. 

Figure 72 shows how to mark the material in tucks in 
clusters of three, but any number desired may be marked. 
The solid lines represent the edges of the tucks, while the 

Page Twenty-Two 



5 PACE BETWEEN THE CLUSTERS 



• • 



• • 



FIG. 72 

Page Twenty-Three 




Fig. 73. 
Illustration Showiug Tucks and Stitching in Front of Waist. 

dotted lines represent the stitching lines. The dotted lines 
connected by arrows are to be brought exactly together, 
having the fold or edge on the solid lines. First, decide on 
the size and distance apart of the tucks and make a gauge 
(a card with notches in it) to indicate the depth of tucks, 
the stitching line and the distance apart of the tucks. Place 
this gauge at any point selected beyond which the tuck is 
to be made and mark with crayon or tailors' chalk on the 
material at the notches on the card, moving it gradually 
across the material. After one side has been marked put 
in the mark stitches as given in Lesson 1, so that the lower 
side will be marked exactly like the upper side, then separ- 
ate the two fronts and baste the tucks on the correct lines 

Page Twenty-Four 



and stitch and press them. Then cut, and baste the 
shoulder and under-arm seams bringing the corresponding 
markstitches together. 

FITTING SHIRTWAISTS. 
Put the waist on and be very careful to pin the fronts 
together straight. Tie a string around the waist and ad- 
just the fullness in the back and mark where the gathers 
will be and the space they will occupy. If the tucks or 
plaits run straight of the goods, see that they set that way, 
or if they run to the front, notice if both sides are just 
alike. Notice if the waist draws across the bust; if so, let 
the fronts out at the under-arm seams. The waist should 
fit quite loose across the bust. If the armholes are too 
large, take up the shoulder seams. Be sure that the arm- 
holes turn a perfect curve over the shoulders; do not have 
them shorter at the shoulder seams. The effect of a great 
many waists is spoiled in this way. They give the sleeves 







'T ' ^ 1 ^^ 






11 ' 




.y^^x 


M 1 ' 




'^ I '*' 1 ' 


1 . 1 I 


(^ 


^ T 1 1 1 


1 11 


\ 




1 1 11 


\ 


M M 




\ 


< 1 < 1 

o t?ii op 


< 1 i \ 


/ 


Ol 1 1 1 


\ 
\ \ 
\ \ 
\ \ 
\ \ 
\ \ 


U. M ^ >-l 

oK op 


\<\ 

\ui\ 

\ I \\\\ w w 




! uJ I lJ \ 

1 ^T) , (J3 I 

1 O I D 1 
1 ui 1 i^ 1 

\ i i 





FIj?. 74. 
Illustration Showlngr Tucks anil Stitoliing: in Back of AValst. 



Page Twenty-five 



a pointed effect at the top instead of the rounded curve they 
should have. 

Drawn the fronts forward at the waistline and arrange 
the gathers so as to make the waist set perfectly smooth 
under the arms. Now pull the fronts up until you have 
as much of a droop in front as desired and mark it. If it 
draws across the hips, let the under-arm seams out below 
the waistline. If this does not give as much fullness as is 
needed, leave the seams open entirely below the waistline. 
Fit plenty long in the back. The skirt is usually- fastened to 
the waist at the center back, and as it tends to pull the waist 
down in the back, the neck will be too low in the back if not 
fitted long enough. The neck requires especial care. Do 
not trim it out too much; the neck band should fit closely, 
though not too snug. Instructions for forming the box- 
plait on the right front are given under the Gibson waist in 
the next lesson. 

Draft the sleeve according to instructions given in 
Lesson 3 for a shirtwaist sleeve and fit it so that it is not 
too long at the top. 

In nearly every instance the sleeves are made to accord 
with the design of the shirtwaist. Plain shirtwaists have 
plain sleeves, finished with a cuff, while more elaborate 
waists have the sleeves either tucked or plaited, finished 
with a deep cuff of fancy design. 

Observe the waist all 
over very closely to see if 
all the necessary changes 
have been made and wheth- 
er there are any more to 
make. If not, remove the 
waist, draw out the bast- 
ings and mark both sides 
alike and trim them and re- 
baste. Use the French 
seam when stitching the 
seams. If the waist is 

wool or of heavy material, ^,^ ^^ ^^^^^^^ ^^ ^^^^ 

trim seams evenly and eith- ot waist. 

er overcast, bind or notch them. Gather the fullness at the 
waistline in the back, two or three rows being sufficient. 

Page Twenty-six 




(See Fig. 75.) These are stayed with a strip of the material 
about three-fourths of an inch wide and stitched all around 
on the under side. Or, if a tape is used to tie around the 
waist, adjust it in the same manner at the back. You can 
arrange the gathers in the fronts the same way by stitching 
the tape to them also. Some shirtwaists are not gathered 
at the waistline in the fronts at all, but allowed to fall free 
from the neck and shoulders. In this case, the tape is stitch- 
ed on the outside at the back, over the gathers, and tied in 
front each time the waist is worn, and the fullness adjusted 
to suit the wearer. Many prefer this plan as they are much 
easier laundered. 

When a waist is made of heavy material and full in 
front, it is sometimes necessary to cut up to the waistline 
from the bottom at the point where the gathers begin, and 
gather the fullness into a band. This band should be 
about one and one-fourth inches deep when finished and cut 
a little on the bias. Even with the band, the fronts may be 
drawn down tight or pulled up to droop over the belt. Ad- 
justing the fullness in a 
band in this manner 
does away entirely with 
the bunglesome quantity 
of material below the 
waistline, which inter- 
feres so often with the 
proper fitting of the 
skirt. The bottom of the 
remainder of the waist 
is finished with a nar- 
row hem. (See Fig 76.) 
To draft a shirtwaist 
neckband make a paral- 
lelogram whose top and bottom lines will each be one-half 
of the neck measure and the ends each one and a quarter 
inches long. Number these Lines 1, 2, 3 and 4 respectively. 
(See Fig. 77.) Place A at the junction of Lines 1 and 4 
and B at the junction of Lines 2 and 3. Measure down one 
inch from A and make C. Measure up one inch from B and 
make D. Place E at the midway point of Line 1, and F at 
the midway point of Line 3. Make G one-eighth of an inch 

Page Twenty-seven 




Flgr. 76. Front Fullness 
Gathered Into a Band. 



below E and H one-eighth of an inch above F. Draw a line 
from A to G by placing A curve (reverse of square) on A 
and adjusting square to touch G. Move square down so 
that A curve will come on G and edge of square on H and 
draw a line from C to H. Reverse square and place A 
Curve on D and edge on G and continue the line from G to D. 
Move square down so that A Curve will fall on B and 
edge on H and continue the line from H to B. While square 
is in this position extend the line one inch beyond B and 
make I, then draw an outward curved line to D. (See Fig. 





Fig. 77. 

77.) Cut along Line 4 from C to A, also the lines from A 
to D, and from C to I then up to D. Lay Line 4 on a fold of 
the material when cutting and allow for seams. Two pieces 
will be needed for the neckband. They are basted together, 

with the right sides facing 
each other and stitched 
around the upper edge and 
ends at a depth of three- 
Fig. 78. eighths of an inch as shown 
in Fig. 78. The band is then turned right side out and 
creased smoothly so that the stitching comes in the crease. 
Sew one edge of the neckband to the neck of the shirtwaist 
so that the seam will come on right side of the waist. Turn 
in the second edge of the neckband and baste it over the 
seam. Fig. 79 
makes this pro- 
cess clear; stitch 
close to the edge. 
Fig. 80 shows the 
a d j u stment of 
neckband when 
finished. 

And now for 
the shirtwaist 
sleeves. Sew an underlap to the back of the opening with 

Page Twenty-eight 




Fig. 79. 




Figr. 80. Aajustment of 
Neck Band. 



the seam on the right 

side; crease the seam 

over on the lap and turn 

in the outer edge of the 

lap (See Fig. 81) and 

stitch it over the seam. 

Join the overlap to the 

front of the opening so 

that the seam will come 

on the right side. Turn 

in the other edge of the 

lap and fold over so as 

to cover the seam. (See 

Fig. 81.) Adjust the overlap so as to conceal the underlap 

at the end of the opening and baste it. Stitch all around the 

overlap, keeping the point in a good shape ; when stitching 

around the point, stitch it down through the underlap so 

it will hold the opening in good position. (See Fig. 82.) 

For each cuff there should be three portions, two of the 
material and one of butchers' linen which is 
used as an interlining. Baste the interlining 
to the wrong side of one piece and after- 
wards baste the second cuff portion to the 
first with their right sides facing each other. 
Stitch around the two ends and one side of 
the cuff. After this stitching the outer edge ^^^- **• 
of the interlining may be cut close to the stitching, so as 

to give a neat appearance to 
the cuff when it is turned. 

In turning the cuff right 
side out make sure that the 
corners are as neat as possi- 
ble. Baste along the stitched 
sides so that the cuffs will be 
easy to handle in sewing it to 
the sleeve. Gather the sleeve 
along its lower edge and when 
joining it to the cuff the full- 
ness should be pushed well 
toward the ends of the cuff. 
Sew the cuff portions with the interlining to the sleeve so 

Page Twenty-nine 





Fig. 82. Over and Under 
Lap for Shirt Cuff. 




that the seam will be on the out- 
side. The little underlap of the 
sleeve is not sewed into the cuff, 
but projects beyond it, as shown 
in Fig. 83. Turn under the edge 
of the outer cuff portion and 
baste it to the sleeve, carefully 
covering the seam as shown in 




Fig. 84. 





PIgr. 85. 



FIgr. 83. 

Fig. 84. The amateur nearly always has trouble with the 

ends of the cuff where it joins the sleeves. It is not easy to 

manage the sleeve and the turn-under edges of the cuff. 

They try to push- out when 

they ought to be hidden from 

view. The only precautionary 

measure is to trim off the 

turn-under ends diagonally 

and then baste very carefully. 

The cuffs should be stitched as 

close to the edge as possible, 

as this will give them a very 

neat tailored finish. 

Before gathering the sleeve locate the center points of 

the sleeve and armhole by folding sleeve through the center 

of the under part, as 
shown in Fig. 85, and 
armhole, a^. shown also 
in Fig. 85. Notch the 
point where the folds 
come on the upper and 
under part of sleeve, 
also at under-arm of 
waist and then when 
sewing sleeve in put 
J. notch in under part of 
IjI sleeve to notch at un- 
derarm of waist, and 
notch at upper part of 
sleeve at shoulder 
seam. Gather sleeve 
along the upper 
edge beginning about 

two inches from the inside seam on the upper part and con- 
Page Thirty 




Fig:. 86. 



tinuing until within about five inches of the seam on the un- 
der part. The sleeve is now ready to be sewed in. Adjust 
the gathers evenly, distributing more of them on the top of 
the shoulder than to the front or back. Begin basting at the 
point where the gathers end and baste around the underarm 
on the plain part of sleeve first, then the gathered part as 
shown in Fig, 86. In sewing in the sleeve, hold the sleeve 
side toward you so that the gathers can be handled easier as 
you baste the sleeve in. Try the waist on again to see if 
sleeves set all right. Stitch a bias strip in with the sleeves 
and then turn in the outer edge of the strip and overhand it 
over the seam so there will be no "raw" seams visible as 
shown in the coat lessons. 

If preferred, the opening for the sleeve may be at the 

inside seam and the 
edges of the opening 
finished with an over 
and under lap, as shown 
in Fig. 87. 

The cuff for the bishop 
sleeve may be fixed in 
this manner; either cut 
an opening or leave the 
inside seam open two or 
three inches. Finish this 
opening by sewing a 
straight strip of the ma- 
terial clear along both 
edges of the opening, having the strip equal in width its 
entire length. Turn the other edge over to cover this seam 
and stitch it 
down. (See 
Fig. 88.) When 
the cuff is at- 
tached to the 
sleeve, turn 
under the band 
or strip just 
sewed on at the 
upper or overlapping edge of the opening, and extend it on 
the under side to form an underlap. (See Fig. 89.) 

Page Thirty-One 




Pig. 87. Sleeve with Lapped 

Cuff, Opening at 

Under Side. 





Fig. 80. 



Cuff Basted to 
Sleeve. 



Fig. 88. Straight Band 

Hemmed to Opening In 

Bishop Sleeve. 



QUESTIONS. 

1. (a) What kind of stitches are used in basting the seams? (b) 
What seams are basted first? 

2. (a) Explain the basting together of the two center backs, (b) 
The side forms, (c) The shoulder and underarm seams. 

3. (a) How is the inside seam of the sleeve basted? (b) The 
outside seam? 

4. Explain fully the pinning together and fitting of the lining. 

5. Explain the fitting of the armhole and how to make changes 
when lining wrinkles about the armhole. 

6. How is the sleeve fitted? 

7. Explain the stitching and finishing of the different seams. 

8. (a) How are the markings for the hooks and eyes made? 

(b) How are they put on? 

9. (a) What places are marked in the second fitting? (b) How 
is the padding put in? 

10. How is the best way to prepare a form for one's own use? 

11. (a) How are seams pressed in different materials? (b) 
How are velvets, plush, etc., basted? (c) How should the bastings 
be removed? 

12. (a) What is meant by "springing" in the bones? (b) What 
are the preliminary steps taken in getting ready to bone a waist? 

13. (a) How are the datrs boned? (b) The underarm seams? 

(c) The center back seam? 

14. (a) How are the bones finished at the top? (b) How is 
the hook and eye bone applied? (c) How is the three-cord tape used 
in coats? 

15. Explain fully what changes are made in the waist draft for 
a shirtwaist pattern. 

16. (a) How are tucks marked and put in? (b) Explain the 
fitting of the shirtwaist. 

17. (a) How is the fullness adjusted in the back? (b) How is 
the front fullness adjusted when the material is of heavy weight? 

18. How is a shirtwaist neckband drafted and put on? 

19. (a) How is the over and underlap of sleeve arranged? (b) 
How is the cuff applied? 

20. How is an excellent way to notch the sleeve and armhole of 
waist in order to get the sleeve properly sewed in? (b) In what 
other ways may the sleeve opening be finished and cuff attached? 

Page Thirty-Two 



THE 

AMERICAN SYSTEM 

OF DRESSMAKING 



A Course of 

Instruction by Mail 

in the 

Science and Art 

of 

Successful 

Dressmaking 

And Ladies' Tailoring 



Lesson No. 5 



The American College of Dressmaking 

(Associated Training Schools, Proprietors.) 

KANSAS CITY, MO., U. S. A. 



Copyrighted 1906, 1907, 1908 and 1909 
by J. M. Stelle 

Copyrighted 1910 and 1911 
5p Associated Training Schools 



Jill rights reserved. 



Printed in the United States. 



American ^j^^tem 
of I9re00mafemg 

TAUGHT ONLY BY THE 

3lmerican Collese of Bressmalung 
llansas Citp. JHo. 

Miss Pearl Merwin, Supervisor. 

^^bSmJI fLesson No. 5| j''^^-.-.^" 

The three following instructions are models of waists 
a little more elaborate than a shirtwaist, yet the foun- 
dation of each is the same as the shirtwaist. Instructions 
are given herewith just how 
to proceed step by step from 
the foundation until you 
have a waist built just like the 
model, and these instructions 
should enable you to copy any 
other designs you may wish 
to follow. To make a pattern 
like Fig. 90 take the plain 
shirtwaist front and back and 
mark the depth of the yoke *^'^- '**'• 

on both. In front the yoke appears to come down to one- 
third of the distance from neck curve to bust line, therefore 
measure down from neck curve to bust line this distance 
and make aa as in Fig. 91. Divide both shoulder lines into 
fourths and you will observe that the yoke comes about 
midway between the first and second division points 
on both as illustrated by top of dotted lines in 
Fig. 91. The lower or larger yoke in the back 
appears to come about half way between the neck curve and 

Page Three 





Pig. »1. 



bust line, therefore 
measure down that 
distance from B and 
make dd and draw a 
line from dd straight 
across t o armhole. 
The first or upper 
yoke seems to come 
down about one-third 
of the distance from 
B to dd, therefore 
make ee this length 
from B and draw a 
curved line to shoulder 
line which will form 
the yoke; also draw a 
line from aa to bb in front which will form the yoke there. 
(See dotted lines in Fig. 91.) 

Next, mark the front for the fancy portion. It will be 
observed by careful study that the break lines are all of 
equal length and that there is a tendency for the lines to 
slant toward the front, therefore measure to the left of J 
one-half inch and make ff, then divide the distance from G 
to ff into fifths using scale of fifths, beginning from ff 
and place gg and hh at the division points. Only one- 
half of the center portion will show on the draft and 
that is the reason why the, space from G to hh 
is shorter than the other spaces. Measure out on 
the waistline from Line 8 the same length as from G to hh 
and draw Line 23 from this point to hh. From gg draw a 
line up parallel with Line 8 making it the same length as 
the line from hh to gg and mark it Line 24, and then draw 
Line 25 across to the armhole. (See Fig. 91.) This con- 
cludes the marking for the yokes and fancy portion over the 
front. Trace them on to another piece of paper and then 
cut, allowing for seams. When laying the fancy portion 
on the material lay the center front line on a fold. 

Since the tucking must be done before the material is 
cut, take a width of the material long enough to reach 
from Line 25 to about three inches below the waistline or 
as long as desired and mark the tucks like the illustration. 

Page Four 



Fold the material through the center with right side in if 
wide enough to tuck both sides; if not, it will require two 
widths, so placed that right sides will face each other. If 
preferred, seam the two widths together and press seam 
open, then fold the two widths together on seam. Lay the 
draft on the material so that Line 8 will come on the seam 
and Line 25 near the top of the widths. Divide the dis- 
tance from hh to gg, also Line 25, into fifths and draw 
lines from these divisions parallel with Lines 23 and 24 
which will form the edges of all the tucks, or rather the 
lines where the folds of the tucks should come. 

The five tucks at the armhole are made as long as the 
break in the fancy portion and the other five are made just 
as long again from the top edge but only the lower half of 
them are visible. Mark the divisions on the material and 
remove draft and lay tucks in position and stitch them. 

When all the tucking and stitching and pressing are 
done, the fancy portion is then applied over this and any 
extra material underneath may be cut away after the waist 
is stitched. 

After attaching the fancy portion to the tucked fronts, 
pin the tucks on down to the bottom, then fold through 
the center of the fancy portion and pin front draft on to 
shape the armhole and under-arm line. The backs are 
marked and tucked in a similar manner as the fronts, 
as well as the lower portion of the sleeves. The finishing is 
done according to instructions already given for a shirt- 
waist. 

Next, take Fig. 92. Study it i 

carefully. You will observe there 
are two yokes in both front and 
back. The lower one extends to 
the bust line and the upper one 
about half way between the neck 
and bust line, marked by aa. By 
dividing the shoulder line of 
your plain draft into thirds 
from neck curve you will get 
the exact points for the yoke 
lines and plaits. The lower yoke ^^«- ^^• 

line will come at the first division point and the fold of 

Page Five 





Fig. 93. 



the two plaits will come 
at the second and third 
points while the line for 
the upper yoke will come 
a little less than half way 
between the neck curve 
and first division points. 
(See Fig. 93.) 

Find the midway point 
between neck curve and 
G and mark it aa. Place 
bb at the first division 
point from P and cc a lit- 
tle less than midway be- 
tween P and bb. Place 
dd at the first division point from A, and ee a little less 
than midway between A and dd. Measure one-half inch 
to the left of J and make ff and since the lower yoke seems 
to come half way across the front, place gg at the midway 
point between G and ff and then draw a line from gg to bb. 
From D measure to the left the same distance as from G to 
gg and make I, then draw a line from I up to dd. From cc 
draw a line parallel with the line from bb to gg and mark it 
Line 23, also draw a line from aa parallel to bust line until 
it intersects Line 23, which will determine the length of 
Line 23. Make hh at the midway point between B and D, 
then draw a line from ee parallel with the line from dd to 
I, and mark it Line 24, also draw a line from hh parallel to 
bust line until it intersects Line 24, which will determine 
the length of Line 24. (See Fig. 93.) This concludes the 
marking for both yokes. Trace each on to another piece of 
paper and cut. Now take a width of material and fold it 
through the center and lay the front draft on it so that Line 
8 will come on the fold and pin securely. Trace or mark 
stitch the line from G to gg and up to bb. Make a mark 
on the material where the second division of the shoulder 
line or jj comes, as this will form the fold for the first 
plait. Draw a line from jj on down to waistline, making it 
parallel with the line from bb to gg. (See dotted Line, Fig. 
93.) This will give a line for the fold of the first plait all 
the way down. Remove draft and fold material back on 

Page Six 



this line until the under fold comes to the line from gg to 
bb and then measure the space for the next plait and the 
amount of material it will take up. Lay plaits in position 
and pin, creasing the edges of the plaits. Unpin and mark- 
stitch them so as to have both sides alike, then baste them 
into position. Pin draft on again carefully and cut, allow- 
ing for seams. The backs are cut in the same manner as 
the fronts. The closing is made under the first plait on the 
left side. The two yokes may be attached to a tight-fitting 
lining and the plaited portion applied, or the lower yoke 
may be joined to waist portion, then upper yoke joined to 
lower one; or, two waists may be made and worn as one, 
the under waist being made 
tight in which the lower part of 
sleeves, collar and yoke would be 
visible and the outer waist com- 
posed of short sleeves and a yoke 
portion. The edges around the 
yokes may be finished with a 
piping or braid. 

Illustration No. 94 shows a 
tucked blouse-waist with inser- 
tion between the tucks. Take 
the shirtwaist draft and draw a line from to the bust line 
making it parallel with Line 8 and place ff at the point of 
intersection. Place aa at a point one-quarter inch less than 
half the distance from P to and then divide the distance 
from aa to equally and place bb at the midway point. 
From aa measure to the left the same distance as from aa 
to bb and make cc ; also make dd the same distance from cc, 
and ee the same distance from dd. Draw lines from ee, dd, 
cc, aa and bb to the bust line, making them parallel with 
Line 8. (See Fig. 95.) Remember that only half of the 
center division will show on the draft and this of course 
will make it appear narrower than the others. The center, 
second and fourth spaces are the ones for the insertion, 
while the first, third and fifth spaces are for the tucks. In 
some measures the whole center front space may be a frac- 
tion wider or narrower than the others. 

After marking the draft, fold the material through 
the center, if wide enough to cut both fronts, and lay Line 

Page Seven 




Flsr. 94. 




8 on the fold. If mate- 
rial is narrow seam two 
widths together and then 
lay Line 8 on the seam, 
after folding the widths 
together face to face. 
The insertion will con- 
ceal the seam. While 
draft is pinned on trace 
the line from ee to bust 
line and then by dividing 
the space from ee to dd 
into fifths, the divisions 
will form the edges of 
the tucks or rather the 
points where the folds of fi??. 95. 

the tucks should come. Remove draft and make the marks 
on the material for the five tucks and the space between 
them, then measure off" the next space from dd to cc which is. 
to be left plain over which the insertion will be stitched. 
Make the same divisions between cc and aa as between ee 
and dd and mark for tucks as before, then measure the space 
from aa to bb to be left plain, and make the divisions the 
same between bb and as between cc and aa, also the 
marks for the tucks. (See Fig. 95.) 

After marking the length and space for the five tucks 
in each cluster, markstitch or trace them to the other side 
and then cut apart and stitch all of them in position and 
press well. Fold on center again and pin draft back on and 
cut allowing for seams. 

Now cut a strip of insertion as long as the center front 
line and baste it right over the center front, also over the 
second spaces each side of the first row of tucks, and the 
fourth spaces each side of the second row of tucks. After 
basting all the rows of insertion on, stitch each one right 
on each edge of the insertion, then cut the material under- 
neath through the center and turn each of the edges back, 
almost to the stitching and crease to hold it flat and stitch 
close to the other row of stitching, having right side of work 
up, then trim the edge off evenly about an eighth of an inch 
from the stitching. 

Page Eight 



The waist closes in the back, therefore after allowing 
for hems, mark off the tucks the same size and number 
in a space as in front. The second cluster of tucks in the 
back is made to meet the second cluster in front on the 
shoulder, measure the shoulder of front from neck curve 
to where the second cluster of tucks begin then measure the 
same distance on back shoulder from neck curve and begin 
marking for the tucks at this point. All the tucks in the 
back extend to the bottom of the waist. 




Fig. 96. 



THE MANNISH SHIRTWAIST. 

This waist is so termed because of its similarity to a 
man's shirt. The features that mark it are the long shoul- 
der, the plain ungathered sleeve top, the yoke 
in the back and the cuff finish. (See Fig. 
96.) 

Use the shirtwaist draft and extend each 
of the shoulder lines a quarter of an inch 
and draw the armhole curves from these 
extensions to L and K, respectively. (See 
dotted lines in Fig. 97.) This will give much 
less curve to the armhole, which is quite 
necessary in this waist. Mark-stitch around 
all the edges of the pattern. For seams allow three-eighths 
of an inch except at the shoulders, armholes and under- 
arm seams, where it is safe to allow as much as an inch, 

for any changes that 
might be wanted made. 
Cut the yoke portion for 
the back by the back 
draft, making it the 
depth desired. It may 
be made straight at the 
bottom or run to a point 
on center back line mid- 
way between C and D. 
(See dotted lines on back 
draft in Fig. 97.) 

For the first trying 

on, baste the shoulder 

*'*«• »''• and under-arm seams. 




Page Nine 




Remove and open the under-arm seams so as to be able 
to apply the back yoke. 
As shown in Fig. 98 the 
shoulder seam is first 
stitched on the right 
side, and both edges are 
pressed toward the back ; 
then the yoke is applied 
flatly with its upper and 
lower edges turned un- 
der and basted. Stitch 
the yoke along the upper 
and lower edges. 

Use the shirtwaist sleeve but instead of using Line 8, 
measure out to the right of D one and one-half inches and 
make a dot then raise this dot one inch and draw a line from 
D through this dot and on up to the dotted line above Line 
1, and use this line, also Line 7 for the top of sleeve. 
Line 8 would make too much of a curve on the under part 
since the shoulder lines have been extended and less curve 
made in the armhole. After cutting the sleeves, finish the 
opening at the bottom with an over and under lip. Now 
insert the sleeve in the armhole. Turn under the edge of 
the armhole once, and baste it, clipping it as necessary to 
make it lie flat. Turn over the upper edge of the sleeve to 
the right side, and baste it. Then lap the edges one- 
half inch and baste. (See Fig. 99.) In basting the sleeve 

in, place the body 
portion on the up- 
per side, then apply 
the top of sleeve 
under it, pinning the 
two together at the 
ends and at inter- 
vals between. The 
top of the sleeve 
will perhaps be a 
little larger than 
^«ff- »»• the armhole, but by 

Page Ten 




basting them together this way, any fullness can be eased 
in evenly. This fullness will disappear when the seams 
are stitched and pressed. 

Next, seam the under-arm and sleeve seams continu- 
ously, using the French seam. The cuffs and neckband are 
added next. They are cut and sewed on according to in- 
structions given for the shirtwaist cuff and neckband. Fin- 
ish the right front with a box-plait and the left with a hem. 
Adjust the fullness in the fronts and back as given for the 
shirtwaist and hem the bottom. A pocket on the left front 
gives a smart finish to this desirable and stylish waist. 

THE GIBSON WAIST. 

The Gibson waist is simply a tailored waist with a deep 
tuck or plait over the shoulder, which is usually stitched 

down the entire length at the 
back, but only to yoke depth in 
front. The size of tuck or plait 
varies, of course, to suit one's 
taste. (See Fig. 100.) 




After drafting a plain shirt- 
waist pattern by the required 
measurements decide just where 
the edge of this plait is to come 
^^^- ^^- at the shoulder, the waistline in 

back and front, where it is stitched or laid in, and mark the 
pattern accordingly. 

We have taken for example a model where the plait at 
the shoulder extends a quarter of an inch beyond the arm- 
hole curve, the plait being one inch wide all the way to waist- 
line. (See Fig. 101.) Therefore make a dot one-quarter of 
an inch beyond the armhole curve at shoulder line, also at 
the waistline in front a little more than two-thirds the dis- 
tance from Line 8 to under arm, or in this case make a 
point seven and one-half inches from Line 8, also a point on 
waistline in back four inches from Line 19 or a little more 
than two-thirds the distance from center back to under-arm. 

Page Eleven 



Connect these points on waistline with dots one-quarter of 
an inch beyond armhole curve, as shown in Fig. 101. 

Trace these lines through and fold pattern so that the 
fold will come on back of same, also crease waistline in 
back and front in like manner. 

If there are to be any other tucks they are made first 
and should be made parallel with the plait over the shoulder. 
It will be observed in the model given here that there are 
three tucks which are about half as wide as the one over 
shoulder, the space between the tucks being a trifle less 
than their width and the stitching of the first tuck being 
about one-third the distance from neck to armhole curve; 
also edge of center tuck at a point representing one-half 
the distance from neck curve to edge of Gibson plait. Mark 
edges of tucks on shoulder line accordingly. Note the point 
on this line indicating where edge of first tuck (or one 
nearest front) is to come and fold pattern at this point so 
that it will be parallel with fold representing Gibson plait. 
Place pattern on a length of material sufficient for both 
fronts of waist with Line 8 on straight of goods and as far 
from the edge of same as necessary to make front plait and 
hem allowance. With pattern in this position, mark along 
the last fold made. Having the edge of the first tuck, make 
allowance for it and the other two tucks and spaces between 
them. Crease or mark-stitch tucks for both sides, baste, 
stitch, and press as previously instructed. 

Pin pattern again on material with fold indicating 
edge of front tuck exactly along the edge of that tuck and 
mark along fold representing edge of Gibson plait from 
shoulder to waist line, also along fold representing the waist 
line. In some models this plait is narrower as it approaches 
the waistline and in such cases make the allowance less 
at the waistline than at shoulder, depening upon the dif- 
ference desired. In this example, however, since the plait 
is to be one inch wide from top to bottom, measure out from 
line just made two inches both at waistline and shoulder 
(which is the amount of material the plait will take up) 
and make a line connecting these points. (See Fig. 102.) 
Form plait by bringing these two lines together and pin- 
ning them, smooth pattern back and mark carefully along 

Page Twelve 



shoulder line and 
all outer edges mak- 
ing allowances 
when cutting as in- 
structed in previous 
lessons. In cutting 
the armhole curve, 
turn back the edge 
of plait. (See curv- 
ed dotted line, Fig. 
101.) Place fronts 
face to face having 
edges of tucks cor- 
responding and 
trace or markstitch 
lines forming Gib- 
son plait. 

To cut the back, 
place the pattern on 
wrong side with 
center back on a 
fold, it being as far 
from the fold at 
waistline as one- 
half the fullness 
desired there, see- 
ing that it comes 
clear back to the 
fold at neck so that 
it will not be too 
wide across the 
back. With pattern 
pinned in this posi- 
tion, mark along the 
folded edge indicat- 
ing edge of plait and measure out two inches at shoulder 
and waistlines and make a line connecting them. Next 
pin the plait in, smooth the pattern back, mark along edges 
and cut out, making allowances as in front. Lift the pat- 
tern carefully, pin here and there to hold in place and trace 
or mark-stitch on the lines. 

Page Thirteen 




Fig. 101. 



Since the Gibson plait is a continuous one from one 
end of its stitching to the other, after cutting, baste the 
shoulder seams, pin the plaits into position without in any 




Fig. 103. 

way stretching the material and baste, join under-arm 
seams and try on. Make any alterations necessary, un- 
Page Fourteen 




baste plait far enough to stitch shoulder seam, then rebaste 
plait across shoulder and stitch into position. 

In this case there is an allowance of three inches made 
on the right front for the plait, making it one and one-half 
inches when in position (see short arrowhead line in Fig. 
102 for width of plait) . To form the plait first fold material 
in the middle of this three-inch allowance indicated by 
first line to the right of Line 8. Next fold on Line 8 (Fig. 
101) . After forming the crease or fold it will be seen that 
the front edge of the waist (or the 
edge indicated by the second line to 
the right of Line 8) fits right into it. 
Baste three-eighths of an inch from 
the fold to form a tuck, so that this 
under edge cannot slip out when it is 
stitched. (See Fig. 103.) There are 
two rows of machine stitching on Fig. losl! 

this plait. Each one is three-eighths of an inch from either 
fold or edge. This distance can be changed, however, to 
suit one's taste. Whatever is used must be allowed on the 
left front so that it will make up the amount taken off of 
the right waist front. When stitching these rows be careful 
to I*:eep them even. Do not use too long a stitch, too coarse 
a thread, or too loose or too tight a tension. 

Usually the left front is not cut so wide as the right 
front because there is no plait but a plain hem. This hem 
must be wide enough to come to the last row of stitching in 
the plait, in this case one inch. 

Occasionally both fronts are cut just alike and the left 
is simply turned under twice, making three thicknesses of 
material on which to sew the buttons. This is all right for 
thin materials, but it would be too bunglesome in heavy- 
weight goods. Buttonholes are worked lengthwise in the 
center of the plait, or the fronts can be fastened together 
with fancy pins, leaving off the buttons and buttonholes. 

KIMONO WAIST. 

Use the shirt waist draft with back shoulder raised 
one-half inch and front shoulder lowered one-half inch and 
omit Lines 20 and 21. Instead of drawing the under-arm 

Page Fifteen 




FIG. 104- 

line or Line 17 from K, draw it from a point half way be- 
tween K and L so that the seam will come directly under 
the arm. (See aa in Fig. 104.) U and T are each one inch 
from Z. One extra measure will be required from the neck 
at shoulder down to the bend of elbow or whatever length 
sleeve is desired. Place corner of square on P and long edge 
along lowered shoulder line and extend it the length desired 
and mark it Line 23. Place bb at its right extremity. In 
this draft it is sixteen inches. Reverse square and place 
corner on A and long edge along raised shoulder line of 
the back and extend that line making it same length as Line 
23 and mark it Line 24 and place cc at its left extremity. 
Squaring on Line 23 at bb, draw Line 25 making it the 

Page Sixteen 



length of one-half the elbow measure plus one-half inch and 
place dd at its lower end. Squaring on Line 24 at cc draw 
Line 26 making it the length of just one-half the elbow 
measure and place ee at its lower CT»d. This will make the 
elbow test out one-half inch larger than measure which is 
necessary in this waist. 

Measure down from aa two inches and make ff then 
placing the three-inch mark in neck curve of square on ff 
and adjusting square to touch dd, draw Line 27 from ff 
to dd. (See Fig. 104.) Reverse square and draw Line 28 
from ff to ee. Next place the three and one-half inch mark 
in neck curve on ff and adjust square to touch T and draw 
Line 29 from ff to T. Reverse square and draw Line 30 
from ff to U. The pattern is now ready to be traced on to 
another piece of paper. Lay Line 8 on a straight edge of 
the paper and pin carefully. 
Trace Line 8 from waistline up 
to neck curve, then the neck 
curve and Line 23 from P to bb. 
Trace Line 25 from dd up to bb 
and Line 27 from dd to ff and 
Line 30 from U to ff. Trace the 
waistline of the front and the 
lines below the waist line. Re- 
move draft and the front section 
is ready to cut. 

Lay the draft back on an- 
other piece of paper so as to 
trace the back placing Line 19 
on a straight edge of the paper 
and pin. Trace Line 19 from 
S up to B then the neck curve to 
A and Line 24 from A to cc. 
Trace Line 26 from ee up to cc 
and Line 28 from ee to ff, and 
Line 29 from T up to ff , also the 
waistline and lines below the 
waistline. Remove draft and 
cut, allowing for seams. Be 
sure to allow at least one inch 
on each of Lines 29 and 30 for ^j^ i^5 

Page Seventeen 




any changes that one might want to make. If a seam on 
top of sleeve along Lines 23 and 24 is desired cut by these 
sections as they appear now. If no seam is wanted, how- 
ever, lay the two sections as in Fig. 105 so that Lines 23 and 
24 will come together and trace on to another piece of paper. 
Trace all the lines but the shoulder line, or Lines 23 and 24. 
When laying pattern on material, if waist closes in the back 
lay Line 8 on a fold. If waist closes in front then lay Line 
19 on a fold. When joining the under arm seam and the 
sleeve seam make it one continuous seam. 

In the illustration of 
Fig. 106 is shown The 
Body - and - Sleeve-in-One 
Shirtwaist, or the Ki- 
mono Shirtwaist. The 
tuck seam extending 
over the shoulder is a 
new feature that is very 
pleasing as well as popu- 
lar. To cut a pattern 
for this waist use the 
kimono waist as repre- 
sented in Fig. 105 and 
decide just where the 
tuck seam is to come at 
the shoulder, the waist- ■ 
line in the back and in 
the front and mark the 
pattern accordingly. 
Place the point for edge 
of plait the distance of 
one-half of shoulder line mg. loe. 

on Line 7 in large draft, plus one inch, and points on waist- 
line each one inch less from the center back and 
front lines than in Fig. 101 of the Gibson waist. 
Connect these three points with a straight line 
and then slash the pattern along this line. The center 
front and center back sections are cut apart on the shoulder 
line. The pattern is now ready to lay on the material. Lay 
the center front section so that its front line will come on 

Page Eighteen 




the selvage, allowing for a plait. Lay the cen- 
ter back section so that its center will come on a fold of 
the material. Pin both pieces carefully and then mark- 
stitch the edges and cut, allowing for seams. Now the 
side front and side back and sleeve sections being in one 
piece, will require the full width of the material which must 
necessarily be at least twenty-seven inches wide, otherwise 
it would mean an awkward seam across the sleeve where 
it would have to be pieced. Therefore to cut both pieces 
at the same time fold two lengths together with right sides 
facing each other. Lay the section on the material so that 
point of shoulder will come within one inch of the selvage 
and the ends lie as they will. Pin in several places. Now 
take the shirtwaist sleeve and pin it on so that the lower 
part of the sleeve can be shaped by it and the slash made at 
the proper place. (See Fig. 107.) Mark-stitch around all 
the edges then cut, allowing for seams. 

Join the shoulder seams of the center front and center 
back sections and hem left front and adjust box-plait on 
right front according to instructions already given. Try 
this portion on, and after making any changes necessary, 
stitch the shoulder seams and then press them open. Put 
on the neckband which is cut and applied the same as given 
for the shirtwaist. 

The next point is the 
tuck seam, extending over 
the shoulder. First, turn 
under the edges of the cen- 
ter front and back on the 
m a r k - 
stitched; 
lines. To 
turn this 
edge un- 
der it will 
be neces- 
s a r y to 

clip the edge slightly at inter- 
vals where it curves in. Baste 
this lapped under edge to the 
side front and side back sec- p,^ ^^^^ 

Page Nineteen 



Illustrating the 
making of a 
tucked seam. 





tion having the mark-stitched lines come directly together. 
Place the stitching about one-half inch from the fold of the 
tuck. The entire making of this tuck is shown in Fig. 107. 

Now finish the slash or opening at the bottom of the 
sleeves with an over and underlap, and seam the under 
arm and sleeve seams continuously. Make the cuffs and 
adjust them the same as for a shirtwaist. Gather the waist 
at back and stay them with a tape and hem the bottom. 

If one does not care for the tuck seam and prefers the 
waist to remain in one 
piece cut without slashing 
the pattern. If no seam is 
wanted in the back lay the 
center back line on a fold of 
the material. If center 
front is laid on the selvage, 
the" center back line will 
come on the bias which 
makes a very pretty back 
when seamed together. 




Pig. 108. 
Fancy Kimono AVaist. 



Fig. 108 is another illustration of the tuck seam over 

the shoulders in a fancy or evening waist. The yoke may 
be rounding or square and it may be worn 
with or without the separate lining which is 
used as a Guimpe, with long sleeves. (See 
Fig. 109.) The tuck seam is marked the 
same as in the waist previously described. 
The center front is laid on the fold of the 
material and the center back on the selvage, 
allowing, of course, for hems. The sleeves 
are made the length desired and then pin- 
tucks two or three inches long are put in 

across the upper part which will make the sleeve appear 

shorter there than the under part. 

Page Twenty 




Fig. 109. 




FlS. 110. 



Fig. 110 consists of a tucked or gathered 
kimono waist and a lining which may be used 
as a Guimpe, with high or square neck and 
full length or short sleeves. The lining is 
the same as given in Fig. 109. After 
deciding the depth of yoke in front and back, 
mark it on the draft which is the same draft 
as shown in Fig. 105 with a seam over the 
shoulders. 

Lay the front draft with Line 8 on a fold of the mate- 
rial and the back draft with Line 19 on the selvage, allow- 
ing for hems. Indicate on the material by tracing or 
mark-stitching just where the yoke will come in both front 
and back and remove draft. Begin at center front of ma- 
terial to mark for the tucks and distance between them. 
As soon as they are marked past the yoke line in both front 
and back, baste them in position and stitch and press. Then 
lay the drafts back on the material and cut along Lines 23 
and 24 the full width of the material, also along the bottom 
lines of both drafts. Seam the shoulder 
lines together their full length and press 
seam open and then continue marking 
for the tucks until the required number 
is in, marking across the seam in both 
front and back. (See Fig. 
111.) After they are all 
marked and stitched and 
pressed pin the drafts 
back on the material 
placing Lines 23 and 24 
on the seam and mark- 
stitch around all the 
edges and cut, allowing 
for seams. Fig. Ill shows the yoke cut 
out, some of the tucks stitched, some of 
them mark-stitched and cut, and others 
mark-stitched and not cut. It also 
shows the mark-stitches around the ng. m. 

Page Twenty-One 




edges, the allowance for seams and the ad- 
justment of gathers at the bottom of waist. 
If preferred, the waist may be gathered in- M 
stead of tucked, as shown in Fig. 112. ll' 

Barste the under arm and sleeve seams in fc^ 
one continuous seam and then try on. Make ^ 
any changes necessary then stitch the seams. 1 / ""^^ 1 '( 
Finish the yoke and bottom of sleeves with / ■ "'^ 

a band. Arrange the fullness at the waist- *'*«• i*^. 
line with the greater part of it drawn toward the center 
of the front and back and stay them with a belt tape which 
can be purchased at a notion counter for this purpose. Hem 
or face the bottom. 

DRAPING. 

By "draping" is meant the adjustment of material 
upon a form over a fitted lining. The lining must be care- 
fully fitted, stitched and boned and then put on the form 
and stuffed to fit the form the same as the person for whom 
it is made. 

First of all, it is quite necessary to have a form and 
some cheap material, such as cheese cloth, -iilesia, etc., to 
practice on. The material may then be pr-ined and ar- 
ranged upon the form any number of times in different 
ways, making it a decidedly easy matter to copy or repro- 
duce any style in the fashion magazine, One can then pin 
and unpin, arrange and rearrange until the desired effect 
is produced. 

After the cheese cloth is draped upon the form the 
way you wish a waist or skirt draped, you can then re- 
move the cheese cloth and drape the material right on the 
form without any delay or difficulty. Always purchase the 
cheese cloth with which you practice and experiment as 
wide as the material which you are going to make up; 
then you will not have to drape and redrape the material 
on account of it not being the same width as the cheese 
Page Twenty-Two 



cloth. For skirts use the cheap grade of cambric, as it 
has just enough stiffening in it to work well. 

To secure the best effect, the average figure requires 
a ruffle or two of cambric sewed to the lining through its 
upper row of shirring, one just above and the other just 
on the bust line, if it is a high-necked lining; if low neck, 
then sew one ruffle on the bust line and the other just below 
it. In sheer or transparent materials sew the ruffles on 
the inside of the lining. Do not let the ruffles be too full 
at center front, but rather let the greater part of the full- 
ness extend over to the armhole. 

If the waist is to have a yoke, drape it first. If the 
yoke is of lace or net it will have to have a foundation of 
net. This will serve to hold out the outside drapery also. 
If the yoke closes in the back and there are no seams wanted 
on the shoulder, pin the center of yoke material at one 
edge to the center of yoke line at bottom, pinning up toward 
the neck. As the neck curve is reached the remainder of 
the material will have to be slashed through the center from 
neck curve so that it will come down on each side of the 
neck to the shoulder. Do not slash it too far down to the 
neck in front, however, and to make it set around the neck 
over the shoulders, clip it in several places, but great care 
must be exercised not to clip it too far down as the yoke 
might pull down and show the clippings. The backs will 
come out bias; fold under enough for hems and then trim 
off the edges. 

In deep yokes it is advisable to drape them with seams 
on the shoulders. The front is draped first by pinning one 
edge of the yoke material along the shoulder line on right 
side and then down toward the bottom of the yoke. With 
left hand draw the material over toward the left of the form 
and pin in several places; do not draw it too tight but just 
easy. Make the clippings for the neck then pin on up to 
left shoulder and down to bottom, then cut material off, 
and begin on the back yoke. Leave enough for hems on 
each side and then pin them in place to the lining and then 
on up to shoulder line on each side, clipping for the neck. 

Page Twenty-Three 




Ply. 11«. 



Fig. 113 shows the yoke applied 
in front. It may be either rounding, 
square or V-shaped. 

Now, measure the material from 
neck at shoulder to waistline in front 
to get the length, then add about 
three inches and cut off a width from 
the material this length. The center 
of this portion is then pinned on the 
shoulder, neck and down center- 
front, as we have started with a 
waist closing in the back. Draw the 
fullness well downward and toward 
the center-front and lay the tucks 
or folds to the required number and 
pin them to the lining as you pro- 
ceed. Push and smooth the material along the shoulder 
line, around the armholes, and down the under-arm seams, 
but exercise care in doing so, so as to not push back too 
much, but preserve the line of tucks from the waistline 
which they naturally assume. Should 
there be fullness in the front, gather 
this at the waistline and draw it even- 
ly toward the center and allow for 
blousing when desired. (See Fig. 114.) 

Draw the material smoothly toward 
the under-arm seams, turn the raw 
edge under and pin. The backs are 
draped in the same manner with the 
exception that the selvage edges "are 
pinned to the center back after turning 
under enough for hems. After the ma- 
terial is all carefully pinned on the lin- 
ing, trim off the material at the yoke 
line, on shoulders, in the armholes and 
Pin the under arm edge of the fronts over 
the raw edges of the backs. Remove the waist together with 
the lining from the form, being careful that no pins fall 
out, and slipstitch the lines which join the fronts to the 
back. Substitute basting for all the pins and remove them. 

Page Twenty-Four 




Fie. 114. 



at the bottom. 



Cut away the lining from under the yoke. The sleeves are 
made and sewed in in the usual manner. 

Finish off the waist neatly. Use any kind of finish 
where the yoke and waist meet; either turn it under and 
whip or hem the edge down or cover with ribbon binding 
or braid. If there is to be any tucking or plaiting or gath- 
ering on the yoke, it must be done before it is draped. If 
you have not left enough on the opening of the yoke for a 
hem, you will have to face it with itself and fasten it with 
small hooks and eyes. 

To make a transparent collar, measure the length and 
height desired, and draft a pattern according to instructions 
given for drafting a stock collar as given in the next lesson. 
Cut a stiff paper collar from this draft and mark upon it the 
seam lines, and also the lines at the front and sides where 
the bones are to be set. Baste the paper collar upon a dou- 
ble layer of mousseline and run colored thread through the 
latter to indicate the penciled lines on the paper. Remove 
the paper and bone the soft lining. 

In making the collar, turn over the upper edge along 
the colored basting, snipping it to make it lie flat. Baste 
the lower edge, turning it over toward the underside. Try 
on and fold the ends together. Slipstitch the collar to the 
yoke and turning to the wrong side, snip the edge of the 
yoke and hem it to the collar, catching through only one 
layer of the mousseline lining. Now cut the collar itself, 
which should be of the same material as the yoke, from 
the draft and baste it to the mousseline foundation. Finish 
it with slipstitches. 

If you do not have a form on which to drape the out- 
side material and do not care to tire your patron with long 
standing, you can cut the goods by the fitted lining before 
it is stitched, allowing for all fullness and doing the tuck- 
ing or plaiting before cutting it out. 

Drape evening or low-necked waists in the same man- 
ner. When fitting the lining, mark on it just how low the 
neck is to be, then when draping bring the material up to 
these marks. In these waists it is a good idea to run the 
bones in the back clear to the top to keep the waist from 
drooping. In some instances where the material is soft 

Page Twenty-Five 




and full it is advisable to run a tape or ribbon around the 
top on the inside that can be drawn to fit the wearer. 

Fig. 115 is an excellent model for draping. First, 
have the lining on the form carefully fitted as before in- 
instructed, then drape the 
yoke in front and in the back. 
Next, make three folds of the 
material and pin across the 
lower part of the yoke in 
front, also in the back and 
baste them on. Now measure 
off two widths of material 
long enough to reach from 
the waistline in the front up 
over the shoulder and down to vis. 115. 

the waistline in the back, and then add about six inches. 
In this way we will drape one-half the front and one-half 
the back at the same time. Take one width of the ma- 
terial and pin it on the shoulder so that one end will be 
long enough to reach three inches below the waistline in 
the front and the other end three inches below the waist- 
line in the back, and over far enough so that its selvage 
edge will reach center front and center back. At the cen- 
ter front and center back lay two folds or tucks the desired 
width and pin them firmly to the lining. Then arrange four 
folds or tucks over the shoulder, letting them extend to the 
waist line in front and back and pin in a number of places. 
Draw a little fullness toward the center front, then smooth 
to the under arm from the front and from the back and pin, 
clipping as necessary for the armhole. 

Drape the other side in the same way, letting the sel- 
vage edge reach the other selvage edge in front and back. 
If material is wide enough allow for hems in the back, other- 
wise they will have to be faced. After draping both sides 
trim off around the yoke and armholes and substitute bast- 
ing for pins in all the places that are readily accessible. 
Remove from form, slipstitch the front selvages together 
under the folds, also the under-arm seams and try on. The 
sleeves, collar and finishing are done according to instruc- 
tions previously given. 

Just a word about the fitted lining. Because shirt- 
Page Twenty-Six 



waists do not require a lining, do not get the impression 
that other waists are unlined also. No experienced dress- 
maker would attempt to make a fancy or draped waist 
without the lining. It is really a necessity in a draped 
waist to have it to attach the material to, then a lining al- 
ways improves the set of a waist, holding it in place as well 
as protecting it. 



Page Twenty-Seven 



QUESTIONS. 

1. What lines and points are necessary to make on 
the shirtwaist draft to produce model shown in Fig. 90? 

2. What lines and points to produce model shown in 
Fig. 92? Fig. 94? 

3. Explain fully the changes made in the plain shirt- 
waist draft for the mannish shirtwaist. 

4. (a) How is the yoke attached? (b) How is the 
sleeve put in? 

5. (a) Explain fully how the plain shirtwaist draft 
is arranged to cut the front of a Gibson waist, (b) The 
back. 

6. Explain the method of adjusting the plait on the 
right front. 

7. Explain fully how the kimono waist is derived from 
the shirtwaist draft. 

8. How is the shirtwaist draft divided for a Body- 
and-Sleeve-in-One shirtwaist with a tuck over the shoulder? 

9. Explain how the tuck seam is made and finished. 

10. Explain fully the making and tucking of the 
waist shown in Fig. 110. 

11. (a) What is draping? (b) What is the advan- 
tage of having a form? 

12. How is a yoke with no seam on shoulder draped? 
A yoke with seams? 

13. (a) How is the front portion draped? (b) The 
back? (c) How is the yoke finished? 

14. How is a transparent collar made and finished? 

15. (a) What are the first steps to take in draping 
the model shown in Fig. 115? (b) How are the front and 
back sections draped in this model? 

Page Twenty-Eight 



THE 

AMERICAN SYSTEM 

OF DRESSMAKING 



A Course of 

Instruction by Mail 

in the 

Science and Art 

of 

Successful 

Dressmaking 

And Ladies' Tailoring 



Lesson No. 6 



The American College of Dressmaking 

(Associated Training Schools, Proprietors. ) 

KANSAS CITY, MO., U. S. A. 



Copyrighted 1906, 1907, 1908 and 1909 
by I M. Stelle 

Copyrighted 1910 and 1911 
b^ Associated Training Schools 



Jill rights reserved. 



Printed in the United States. 



%l)t 



American s^p^stem 
of Bre00mafem5 

TAUGHT ONLY BY THE 

Slmertcan College of ©ressmafeing 
Kansas Citp, Mo. 

Miss Pearl Merwin, Supervisor. 

Lesson No. 6 

PLAIN TIGHT FITTING WAISTS. 

Cut the lining of a tight-fitting waist the same as 
directed in Lesson 3. If it is to have a skirt portion, draft 
the pattern below the waist as far as desired. Be sure to 
get it large enough over the hips or it will draw and wrinkle 
there. 

After cutting the lining out and shaping it below the 
waistline, lay the front on the double material with front 
edge of the lining on the straight edge of the goods, and 
pin carefully, and then cut out. Cut the other sections ac- 
cording to instructions already given. After all are cut, 
separate and place each piece of the lining with its corre- 
sponding piece of the material. You will not get two pieces 
for the same side when cutting both sides at once this way 
on the doubled goods. Occasionally, however, you 
will have a piece of goods that can be cut to 
much better advantage by cutting each piece sep- 
arately. When this occurs, be sure to compare the two 
corresponding pieces before cutting, so you will know that 
they are right, and thus avoid the danger of cutting two 
pieces for the same side. If the material has much of a nap, 
cut each piece of the waist to run in the same way; other- 
Page Three 



wise, by different reflections of light, caused by the differ- 
ent directions of nap, the garment may appear to be made 
of two shades of goods. It is advisable, even in material 
that has no nap, to cut each piece the same way. 

BASTING MATERIAL ON LINING. 

Lay the lining on the table and place the goods over it 
and smooth the goods over and over again and draw it out 
a little. Pin it carefully in several places around the edges 
to hold it in place, then baste it about where the pins are. 
Turn it over and baste along the waistline also. The idea 
is to get the outside drawn a little tighter than the lining, 
which will obviate all those little lengthwise wrinkles so 
often seen in a tight-fitting waist. Careful judgment, 
however, must be used in the smoothing, as different tex- 
tures of goods give more or less in this smoothing, which 
must always be done lengthwise of the goods. 

Join all seams together from the waistline up and from 
the waistline down, making the turn at the waistline 
decided. Pin and baste according to instructions already 
given for basting the lining. If there is any unevenness 
in any of the pieces, caused by careless cutting, do not at- 
tempt to full it in, but let it come out at the top or bottom, 
being sure first that the waistlines are together. After all 
the seams are basted, cut the darts off a little so that when 
fitting the waist will set well down to the form ; when ready 
to bone they can be cut off the desired width. 

Clip all the seams at the waistline after they are 
stitched and finish them as you wish. . If you bind them, 
be very careful to put the binding on loose enough so the 
seams will not draw; otherwise a perfect fit will not be 
obtained. 

THE ONE-PIECE YOKE AND COLLAR. 
A lingerie yoke can be of net or continuous rows of 
lace, overhanded together. If made of net appliqued with 
medallions of Irish lace, a little embroidered sprig here 
and there can be effectively used by a woman who is handy 
with the needle and has clever ideas in anything pertaining 
to trimming and accessories. With a little ingenuity a very 
pretty yoke can be made with dainty French touches at 
little expense. Small odd pieces of lace can also be utilized, 

Page Four 




which is an advantage to the woman who has to consider 
economy. Rows of ribbon to match the dress, fastened 
together with fagotting stitches was once very much in 
vogue. Rows of ribbon and Valenciennes lace are often 
used together. The combining of two kinds of lace results 
in a plain and really good effect. 

In Fig. 116 Valen- 
ciennes and cluny in- 
sertion are used in al- 
ternate rows, and 
cluny edging finishes 
the top. For making 

these yokes, it is advis- "f ^ 

able first to fit the pat- 
tern in muslin. Lay ~^.^, ,.- 
the back and front Figr. iie. 
draft together as in Fig. 101 of the Gibson waist, then trace 
on them the depth of yoke desired in front, on shoulder and 
in the back and trace this off on the muslin, placing the cen- 
ter front of draft on a fold of the muslin. 

Draft a stock pattern from the required measurements 
and cut this of muslin, laying the center line on a fold. 
Allow for hems on the yoke portion of the backs when 
cutting the muslin, also for seams on the collar. Turn 
hems under on yoke backs, then turn under the lower edge 
of the collar three-eighths of an inch and baste. Try on 
the yoke and pin carefully where it closes. Have some one 
pin the collar on, allowing it to take its natural position on 
the neck. Mark with pins the line of the collar on the 
yoke, then remove both collar and yoke and pull out the 
bastings from the bottom of the collar. 

Cut the yoke of newspaper from the fitted muslin, also 
the collar. Mark with pencil on the paper pattern the col- 
lar line marked with pins on the muslin; also mark three- 
eighths of an inch seam allowance around the lower edge 
of collar. Snip or clip well around the neck edge of the 
yoke and lower edge of the collar, but not deeper than the 
pencil line. Then sew on the collar by basting through the 
pencil lines on the yoke and collar as shown in Fig. 117. 

Baste the first row of insertion on the collar, with right 
side of lace next to paper and lower edge along seam joining 

6 Page Five 




collar to yoke. Baste the second row with lower edge at 
upper edge of first row, con- 
tinuing in this manner to 
the top of the collar, and 
below the collar to the bot- 
tom of the yoke. Draw the 
thread in upper edge of in- 
sertion as required to fit. 
Afterward overhand edges fis. 117. 

of insertion together. Before removing from paper press 
well with a hot iron. The ends of the collar should be 
turned under and tiny hooks sewed to the right end and 
corresponding eyes or loops to the left end. 

Should the yoke close at the left shoulder seam, cut the 
back section in one piece by laying draft on fold of the 
muslin and tracing the yoke the desired depth. The front 
draft is also laid on a fold of muslin and yoke traced, thus 
having a seam on the right shoulder and the closing on the 
left shoulder. After cutting the muslin baste the right 
shoulder seams together and fit. Pin on the collar so that 
its closing will be at the center back. The left side of the 

collar is only basted to the 
front of yoke as far as the 
shoulder seam. (See Fig. 
118.) The free left side of 
the waist is finished with 
ribbon binding. 

A CIRCULAR TUCKED 
YOKE. 
Lay the front and back 
drafts together on a piece 
of paper as in Fig. 101 of 
the Gibson waist and trace depth of yoke desired in front, 
back and on shoulders, also the neck line. Remove drafts 
and cut the yoke on the lower paper twice the width marked. 
Cut out the neck curve leaving three-eighths of an inch for 
seams. The tucks are next marked on the yoke. Great 
car^ must be exercised to make these lines or marks per- 
fectly round, so as to prevent the forming of any points or 
wrinkles. A compass is often resorted to by dressmakers 
but the following method is a good substitute and answers 

Page Six 




Fig. 118. 



\ 




FIG. 119 



Page Seven 



the purpose just as well. Spread the yoke pattern out flat 
and fasten firmly to a lap-board or table. Make a slip knot 
in a piece of wrapping cord or twine and place point of 
pencil through loop and draw the knot up close to pencil. 
Faster a thumb tack in the board or table right in the cen- 
ter of the space where the neck has been cut out. (See Fig. 
119.) Now place the point of pencil on the farthest edge of 
yoke and placing forefinger holding cord on thumb tack, 
swing pencil around to other edge of yoke which will make 
the mark for the first tuck at botton of yoke. (See line 
marked A in Fig. 119.) Decide the depth and distance 
apart of the tucks and make the next line accordingly by 
regulating the length of the cord at the forefinger. (See 
line marked B in Fig. 119.) Continue marking this way 
until the entire yoke is marked. The length of the cord has 
to be regulated for each tuck, but each line must be the 
same distance apart. When the marking is completed pin 
the pattern on the material with the center front line on a 
fold and trace or markstitch all the lines for the tucks and 
remove the pattern and open up the yoke. Begin basting 
in the tucks by using the lines for the folds of the tucks 
and baste as far 
back from the fold 
as depth of tuck is 
desired. Baste, 
holding the under 
full part uppermost 
so that the fullness 
can be evenly dis- 
tributed. (See Fig. 
120.) The basting 
must be close and 
fine, so that the full- 
ness cannot shift 
when the tuck is be- 
ing stitched. When 
the tucks are stitched and turned down to their proper 
position, the fullness underneath them will not be visible. 
The making of circular tucks requires accuracy and patience 
but one is amply repaid for the extra time and care be- 
stowed on the work, when its results are satisfactory. The 

Page Eight 




Fig. 120. 



LINE 2 




FIG. 121 



yoke is now ready to apply to the waist. Finish the neck 
with a narrow band over which a stock collar may be 
basted and worn. 

HOW TO DRAFT A COLLAR PATTERN. 
To draft a collar or stock pattern, make a parallelogram 
whose top and bottom lines will each be the length of one- 
half the neck measure and ends three inches and number 
them Lines 1, 2, 3 and 4, respectively. (See Fig. 121.) Make 
A on Line 4 three-fourths of an inch from the junction of 
Lines 1 and 4, and B on Line 2 one-half inch from the 
junction of Lines 2 and 3. Make C one-half inch from 
junction of Lines 1 and 2 and place D at junction of Lines 
3 and 4. Draw Line 5 from A to C by placing A on square 
on A on draft and adjusting edge of square to touch C. 
Move square down so that A will come about one inch to the 
left of D and adjust edge of square to touch B and draw 
Line 6 from D to B. Connect B and C. (See Fig. 121.) 

A very good way to test this collar is to take two neck 
measures, one directly under the chin and the other at the 
base of neck; then Line 5 should measure just one-half 
of measure around upper part of neck, and Line 6 should 
measure one-half of measure at base of neck. The points 
B and C may be changed to suit the measures. 

When cutting the collar for back opening, lay the edge 
from A to D on the fold of the goods, and allow for turning 
under on all edges. In a tailored collar interline with can- 
vas ; baste the material on the canvas and turn all the edges 
over the canvas and baste them. If you want the collar 
stitched any it should be done now ; then press and line 
with silk or some soft material. 

DRAFTING A WRAPPER COLLAR. 
Make a parallelogram whose top and botton lines will 
each be the length of one-half the neck measure and the 
Page Ten 



ends four inches and number them Lines 1, 2, 3 and 4, 
respectively. (See Fig. 122.) From the top of Line 4 
measure down one and three-fourths .inches and make A. 
From the bottom of Line 2 measure up one inch and make 
B. Place C at the junction of Lines 1 and 2, and D at the 
junction of Lines 3 and 4. Draw Line 5 from A to C by 

Line 1 C 





Fig. 122. 

placing A on square on A on draft and adjusting 
edge of square to touch C. Move square down and draw 
Line 6 from D to B by placing A on D and edge on B. 
Measure up from B one inch and make E and from E meas- 
ure out to the right one inch and make F. Draw a curved 
line from B to F and on up to C. (See Fig. 122.) This 
forms the rounding end of the collar. To get the break lino 
measure down from A three-quarters of an inch and make 
G; also measure from C on the rounding line one-quarter 
of an inch and make H. Draw a line from G to H by plac- 
ing A on G and adjusting square to touch H. (See dotted 
Line 7 in Fig. 122.) When cutting lay Line 4 from A to D 
on a fold and allow for seams. The collar is made and 
attached to wrapper similar to the neckband of a shirt- 
waist and is folded over on the break line or Line 7 after 
attached to wrapper. If the wrapper is finished with a band 
before this collar is applied then do not make A so far down 
from top of Line 4. The higher the neckband is the less 
curve must be made at A. 



Page Eleven 



SAILOR AND DUTCH COL- 
LARS. 

The Sailor and Dutch Collars 
are easiest made by arranging 
the front and back as in Fig. 123 
leaving a space of one-half inch 
at the armhole. This is done 
to allow extra room over the 
shoulders, as the collar must fit 
a little looser than the waist. 
The length from A to B depends 
upon the depth of collar desired. 
The line from B is drawn 
straight across the back and ex- 
tends one inch beyond the arm- 
hole. Follow the armhole curve 
along the front as far as you 
wish and then down across the 
>ust to a point in front as far 
down as desired. The line from 
A to B is laid on a fold when cut- 
ting. If a V-shape is wanted, 
draw a line from the shoulder at 
P to G. The dotted line repre- 
sents how the Dutch and Buster 
drawn. 





Fig. 124. 



Fig-, las. 

Brown collar lines may be 

SAILOR BLOUSES. 
Use the drafts as made 
for a shirtwaist with the 
exception of Lines 20 
and 21. Make T and U 
each one-half inch from 
^ then extend them four 
inches below the waist 
line, also Lines 8 and 19. 
(See Fig. 124.) Draw a 
line from P to G, or from 
P down to Line 8, as far 
as the opening in front 
is desired. (See Line 
23, Fig. 124.) Separate 



Page Twelve 



the two sections and the pattern is ready to cut the blouse. 
It may close down the front or it may be made to slip over 
the head without any closing. If the former, lay Line 8 
from G down to bottom, on the selvage, allowing for seams, 
and the center back line on a fold; if the latter, lay each 
on a fold. The shield or chemisette is cut by placing the 
front and back together as in Fig. 123. Its length in front 
should be a little longer than the opening for it on front 
and its width enough to extend well under Line 23. The 
width at the back should be about the same as that indicat- 
ed for the Dutch collar in Fig. 123. (See dotted lines in 
Fig. 124.) 

Baste the shoulder and underarm seams together and 
try on. There should be little or no changes to be made 
since the neck is loose and open and the blouse fits easy 
over the bust and loose at the waistline. If closing is 
made in front, hem right front and sew on the hooks and 
slip a strip of seam binding under the prongs of the hooks 
and fell each edge down. This gives a neat finish. Face 
the left front, which will give an underlap extension on 
which to sew the eyes or loops and thus avoid any gaping 
of the fronts. Bind the top edge of the extension with seam 
binding. Where the eyes or loops are to be sewed on the 
extension it may first be strengthened by a strip of tape 
basted on the wrong side. 

Next in order is the collar; cut two of these — an upper 
and an under side. Both may be of the same material or the 
latter of silk, if a wool waist. On cutting each out, run 
a thread around the neck edge to keep it from stretch- 
ing in the handling. Lay the two pieces together with 
right sides facing each other and baste and stitch all 
around the outer edges. If any braid is used baste it on 
with the collar laid flat on a table. Stitch it on each edge. 
If the material is heavy, it is preferable to stitch only the 

Page Thirteen 



upper edge. Many rows of stitching tend to stiffen a 
heavy material. 

Now baste the collar to the neck of the blouse, holding 
the right side of the collar against the wrong side of the 
blouse. Pin the two together at the center back and the 
points in front. When they are closely basted, try on to 
see if it sets all right then remove and stitch. Lay the neck 
of the blouse flat and notch the edges of the seam where it 
is necessary to make them lie smooth- 
ly around the curve. (See Fig. 125.) 
Press the seam with the edges 
turned back on the collar Baste the 
under collar to position along neck 
and front lines, turning under the 
edge and overhand neatly. Hem the 
bottom through which an elastic is 
run. Hooks and eyes fasten the^ 
waistline. The elastic is tacked to 
position at the ends and at the center 
back. 

The shirtwaist sleeve and cuff 
may be used, or the Bishop sleeve and 
cuff. The cuff may be left open 
and fastened with buttons and but- 
tonholes or made large enough to 
slip over the hand and closed. Sew 
the sleeves in according to instructions already given and 
bind the armhole. 

The shield or chemisette is cut in one piece, the dotted 
line from neck curve to G being laid on a fold of the material. 
The lower edge is hemmed, the other edges are turned under 
a seam's width and faced with a narrow strip of thin soft 
material. The stock collar illustrated in Fig. 121 is used. 
Pin the center of the collar to the center front of shield and 
also at the ends. Baste it holding the shield on the under 
side, then stitch and press the edges toward the top of 
collar. Try the shield on and turn in the top edge of collar 
at a comfortable height, and the back edges just to meet. 

Page Fourteen 




Fig. 125. 



Sew hooks within the right edge and eyes barely showing 
beyond the left edge. Cut a lining of soft thin material the 
shape of the collar, turning under its edges to make it a 
little smaller than the collar. Baste this to the wrong side 
of collar then overhand all the edges neatly. A row of 
stitching at the top and one at the bottom of the collar and 
ends gives a tailored finish. 

If preferred, the collar need not be lined but simply 
underface the edges with a bias strip of the material about 
an inch wide. Baste this along the edge of the collar, with 
right sides together and stitch. Then fold the strip over to 
the wrong side, turn in its free edge once and baste it down 
and stitch. If the edge is finished with a bias facing on the 
right side it is done in the same way. 



DRAFTING A CIRCULAR CUFF. 

Take one-half the hand measure and add one inch 
to it and make a square whose sides will each be that length 
(five inches in 

this case) and line i 

number them 
Lines 1, 2, 3 and 
4, respectively. 
(See Fig. 126.) 
From the top of 
Line 4 measure 
down one-half 
inch and make A, 
then placing cor- 
ner of square on 
A let the four- 
inch mark touch 
Line 1 and make 
B at this point. B 
will not always 
come at the four- 
inch mark, but at the one-half hand measure point which 

Page Fifteen 




Fig. 126. 



in this case is four inches. Draw Line 5 from A to B by- 
placing C on B and letting edge of square touch A. 

Measure up from the bottom of Line 2 one and one- 
fourth inches and make C and draw Line 6 from B to C. 
Place D at the junction of Lines 3 and 4, and draw Line 
7 from C to D by placing A Curve on C and letting edge of 
square touch D. Cut on Lines 4, 5, 6 and 7. When laying 
the pattern on the material, lay Line 4 on a fold, and allow 
for seams when cutting the material. This cuff is made simi- 
lar to the shirtwaist cuff and when attaching it to the 
sleeve place A at the inside seam of the sleeve. 

HOW TO FIT IRREGULAR OR DISPROPORTIONATE 

FIGURES. 
So many of our students are such busy dressmakers 
that they often write asking if it is really necessary 
to take the time to draft a pattern for every customer, 



Fig. 137. Altering a Pattern 
a Sliort Waist. 



Page Sixteen 



especially when the measurements of many are about 
the same. If they have the "know how" of altering the 
patterns they have previously drafted to conform to the 
slight differences in the measures, then there is no neces- 
sity of drafting a pattern for each customer. Another 
problem a dressmaker has to meet is the difficult figures 
to fit. They may be classified as follows: The long- 
waisted and short-waisted, the round-shouldered and over- 
erect shoulders, the too-highly developed bust and too 
small one, the high bust and the low bust, the prominent 
abdomen or the too prominent hips, etc. 

In some instances the seams may be altered sufficiently 
to obtain a satisfactory fit, but in the majority of cases 
it is better to alter the pattern before attempting to cut 
a garment. Taking up these difficulties in the order 




Klgr. 138. Altering- a Pattern for 
a Liong: AValst. 



Page Seventeen 



given, are first, the long-waisted and short-waisted fig- 
ures. By this is meant that the figure is either very 
long or very short from the bust to neck or from the 
waistline to the bust. A person might measure in inches 
precisely what she should, from neck to waistline, and 
yet have a very long, deep bust, and a very short line 
from bust to waist. In that case a pattern which corre- 
sponded to the person's measures in inches would have 
to be lengthened in the upper part and shortened below, 
ro fit her. Therefore, it is of the utmost importance that 
the front and back measures are carefully taken, as well 
as the under arm measure. Compare all her measure- 
ments to those of the pattern and then make alterations 
only where needed. For instance, if the back measure 
corresponds exactly to that of the pattern, but the under 
arm measure is long or short in comparison to that of 
the pattern, the pattern must be altered at its lower part 
only. If, on the other hand, the under arm measures 
correspond and the back measure is too long or too short, 
then the upper part of the figure is out of proportion 
and therefore the upper part of pattern will have to be 
lengthened or shortened to fit. 

In some cases both the lower and upper portions of 
pattern will have to be altered, but in most figures it is 
only necessary to alter the lower part. Some women are 
long-waisted from under the arm to the waistline, and 
short from under the arm to neck. If it is found the 
pattern is too long in lower part, lay a plait across each 
section about two and one-half inches abovo vraistline. 
The size of the plait is, of course, determined by the 
difference in the measurements. If the pattern is too 
long in upper part, lay the plaits in each section half 
way between the neck and bust line. (See illustrations 
in Fig. 127.) 

The alterations for a long-waisted figure are also 
Page Eighteen 



determined by comparing the back and under arm meas- 
urements of the figure and pattern. The place for altera- 
tion is just the same as for the short- waisted figure. 
Slash across each section where it needs more length, and 
separate the pieces — the amount of separation depending 
again on the difference in the measurements. (See illus- 
trations in Fig. 128.) 

THE ROUND-SHOULDERED AND OVER-ERECT 
FIGURES. 



Round shoulders make the 
back of a waist draw up until 
its waistline is far above its 
proper place and wrinkles ap- 
pear in the garment at the 
sides of the back under the 
arms. Sometimes the neck will 
drag also. To correct this, 
slash the pattern at the center 
back straight across at the most 
prominent part of the shoulders 
and the side back section to 
within three-eighths of an inch 
of the seam edge. Allow the 
edges to separate as much as is 
necessary to give a smooth, easy 
fit. In this instance it may be 
better to use a cheap lining, es- 
pecially if inexperienced in cut- 
ting. The slashing can 
then be done after the lining is 
on the figure and just enough 
separation made to fit down to 
the figure. The separated parts 
must be pinned smoothly over some cambric or a piece of 
lining. (See Fig. 129.) Of course, if the person is just 

Page Nineteen 




I -FOR ROUND SHOULDERS 



Fig. 129. 




Fig. 130. 
For Over-Erect Figures. 



slightly round - shouldered then 
the alteration can be made by 
slashing the paper pattern. A 
figure of this type is usually 
quite a little longer-waisted in 
back than in front. 

On the other hand the over- 
erect figure is generally shorter- 
waisted in the back and longer- 
waisted in front than the aver- 
age. The method of alteration is 
practically the same as for the 
round-shouldered, except the 
the edges are lapped instead of 
separated. (See Fig. 130.) 



THE VERY PROMINENT OR 
VERY SMALL BUST. 

As stated in a former les- 
son, many people may have the 
same bust measure in inches, 
yet be so entirely different in 
contour that a pattern drafted 
for one w^ould not fit the other 
at all. A broad, flat-chested 
frame; a round, plump figure; 
a hollow-chested, round-shoul- 
dered woman are types that 
come under this head. All of 
these may need the same 
amount of room in a lining, but 
they need it in different places. 
The pattern must be altered at 
the point where it is too small 
or too large for them. For 
the large bust slash the center 
front section across at bust line 
and the side front from the bust line upward to the arm- 
hole edge. Allow these parts to separate sufficiently to 
give ample room over bust. In this instance also 

Page Twenty 




)-FOR THE PROMINENT BUST 
Fig. 131. 



it is betl..? to use a cheap lining and do the 
slashing in the lining after it is put on the figure. 
The separated parts are held together by a piece of cam- 
bric or lining which must be carefully pinned under the 
slash. Sometimes, after slashing the lining, the side-front 
seam will separate a little below the bust to give proper 
room, or they may have to be taken in a little more to fit 
smoothly. After removing the lining, rip the seams, 
spread the pieces flat, trim the patched edges evenly and 
then cut garment by this, (See Fig. 131.) 

For the small bust the reverse 
treatment applies. The pattern 
is slashed as before, but is lapped 
over instead of separated. Do 
not force the piece in any way 
when lapping, but allow them to 
set easily, the lower over the 
upper. Pin the edge 5 together and 
it will be found tha'r the lap on the 
side front has made the front edge 
uneven. It should be added to 
and kept a smooth, unbroken line. 
(See Fig. 132.) 

When altering for the high or 
low bust person, special attention 
must be given to the place of slash- 
ing. That is, the slash must be 
made over the prominent part of bust, even though it comes 
above or below the average bust line. 

In making any or all of these changes, bear in mind 
that not only must changes be made in the lining, but 
in the other portions of the waists and coats as well. 
The important point is to slash the pattern or lining at the 
right place and to allow the edges to separate or lap as 
much as seems to be necessary. 

Another difficulty a dressmaker is sure to encounter 
is the square shoulder and the sloping shoulder figures. 
This is another example of the necessity of observing the 
form when taking the measures so that proper allowances 
may be made for same. When a lining wrinkles crosswise 

Page Twenty-One 




4 -FOR THE SMAU BUST 

Fig. 133. 



at the front just below the neck curve, it is an indication 
of square shoulders. The dotted lines in Fig. 133 show how 
to alter the waist to obtain a successful fit. One must be 




Fig. 133. Fig. 134. 

careful in taking off the amount, as it is quite surprising 
how much one-eighth or one-fourth of an inch alteration 
will change the fit or set of a waist. 




Fig. 136. Method of Altering. 

If the lining shows a diagonal wrinkle from the neck 
to armhole, it indicates that the shoulders are more slop- 
Page Twenty-Two 



ing than the average. The dotted lines in Fig. 134 
show how to alter the front and back to overcome this 
problem. 

The most common difficulty with the sleeve when in- 
structions for drafting same have not been followed closely 
is its drawing on the upper part and also at the elbow when- 
ever the arm is raised or bent. This is caused by the 
under part being too short, or rather cut too low. If 
the sleeve is plenty long the seams may be ripped and 
the under part raised a trifle and then i'eshaped at top 
and at elbow. If not sufficiently long, then a piece will 
have to be joined on and shaped to fit. (See Figs. 135 and 
136.) 



Page Twenty-Three 



QUESTIONS. 

1. (a) How is the lining laid on the material in 
plain tight-fitting waists ? (b) How is the material basted 
to the lining? 

2. How do you proceed to cut a pattern for the one- 
piece yoke and collar as illustrated in Fig. 116? 

3. (a) How is the insertion or lace basted on? (b) 
How is the pattern cut if yoke opens on the left shoulder? 

4. (a) Explain fully how a circular tucked yoke is 
marked and cut. (b) How are the tucks basted? 

5. (a) Draft a stock collar pattern for a 14-inch 
neck and send it to us for inspection, (b) Draft a wrapper 
collar for a 14-inch neck and send in for inspection. 

6. How are the front and back arranged to cut a 
sailor collar? 

7. (a) What changes are made in the shirtwaist 
draft for a sailor blouse? (b) Explain the basting and 
fitting of this blouse. 

8. Explain fully how the Sailor collar is made and 
applied. 

9 How is the shield or chemisette and its collar made? 

10. Draft a cuff pattern for a hand that measures 
9 inches and send it in for inspection. 

11. Explain fully how to alter a pattern for a short- 
waisted figure, (b) A long-waisted figure. 

12. (a) What changes are made for the round- 
shouldered figure? (b) The over-erect figure? 

13. (a) What changes are made in the pattern for 
the prominent bust figure? (b) The small bust? 

14. (a) What changes are made for the square- 
shouldered figure? (b) The sloping-shoulders? 

15. How is a sleeve remedied that draws across the 
upper part? 

Page Twenty-Four 



THE 

AMERICAN SYSTEM 

OF DRESSMAKING 



A Course of 

Instruction by Mail 

in the 

Science and Art 

of 

Successful 

Dressmaking 

And Ladies' Tailoring 



Lesson No. 7 



The American College of Dressmaking 

(Associated Training Schools, Proprietor*.) 

KANSAS CITY, MO., U. S. A. 



Copyrighted 1906, 1907, 1908 and 1909 
by J. M. Stelle 

Copyrighted 1910 and 1911 
b^ Associated Training Schools 



Jill rights reserved. 



'Printed in the United States. 



I 



Clje 



of Bre00mafemg 

TAUGHT ONLY BY THE 

American College of Bressmafelng 
Kansas Cttp, JHo. 

Miss Pearl Merwin, Supervisor. 

Lesson No. 7. 

(Proceed as in the second and third lessons; that is, 
first study the lesson with the draft before you for com- 
parison; second, using the same measurements, make a 
draft exactly like the one accompanying this lesson; third, 
answer the questions and send them to us for correction 
and grading together with the draft; fourth, after you 
understand everything thoroughly in this lesson and have 
sent in the report and draft required, we advise that for 
practice you make at least ten other skirt drafts from that 
many different sets of measurements.) 

SKIRT MEASUREMENTS. 

The American System uses the following six measure- 
ments in skirt drafting: 1, waist; 2, around the hips; 3, 
dart length; 4, length in front; 5, length on side; 6, length 
in back. 

To take the skirt measures: First, measure around 
the waist at the waistline, drawing it snug. (See Line 3, 
Figs. 56 and 57, Lesson 1.) Second, measure around the 
fullest part of the hips, which is usually about five or six 
inches below the waistline. (See Line 15, Fig. 5G, Lesson 
2.) Third, place the end of the tape line at the waistline 
at the side and measure down to the fullest part of the hip. 

Page Three 



(See Line 16 between arrowheads, in Fig. 56, Les- 
son 2.) Fourth, place the end of the tape line at the waist- 
line in front and measure down to the floor, swinging the 
tape line out so that it will touch the floor two or three inches 
in front of the feet. (See Line 17, Fig. 56, Lesson 2.) 
Fifth, place the end of the tape line at the waistline on the 
side and measure down over the fullest part of the hip 
and on down to the floor. (See Line 18, Fig. 56, Lesson 2.) 
Sixth, place the end of the tape line at -the waistline in 
the back and measure down to the floor, allowing the tape 
line to swing out from the feet a little farther than in front. 
(See Line 19, Fig. 57, Lesson 2.) If the skirt is to have a 
train, this measure will have to be taken as long as the train 
is desired to be. 

The measurements used in this lesson in making the 
draft are as follows: Waist, 24 inches; around the hips, 
40 inches; dart length, 6 inches; front length, 40 inches; 
side length, 41 inches; back length, 41 inches. 

As the seven-gore skirt is very popular at all times, and 
since it is quite easily made, we will use it as a foundation 
basis to work from and gradually develop other types in 
succeeding lessons. 

RELATIVE PROPORTIONS. 
The draft accompanying this lesson represents the top 
of one side, or one-half of the skirt. The right edge of 
the paper from E on down represents the center of the 
front gore, therefore only one-half of the front gore is 
illustrated on draft. In proportioning the width of the 
gores at the hip line they are made so that they will be 
equal with the exception of the back gore. There are two 
of these gores and the width of the two at hip line taken 
together is equal to each of the others. Then the width of 
one of the back gores or Line 13, together with the width 
of one-half of the front gore or Line 1, which is represented 
on draft, form one-third of this half of the skirt. This is 
why we draw Lines 1 and 13 the length of one-sixth of one- 
half of the entire hip measure, because one-sixth is one- 
half of one-third. The first and second side gores form the 
other two-thirds, therefore, each will be one-third of half 
the entire hip measure. The hip measure in this draft is 
40 inches. Instead of having to stop to compute one-sixth 

Page Four 



of one-half of forty equals three and one-third, simply mark 
on the scale of sixths opposite the mark representing one- 
half the hip measure, or 20, which is three and one-third on 
the scale of inches. Likewise, in marking for the hip line 
of first and second side gores, instructions read to draw 
Lines 5 and 9 one-third of one-half the hip measure ; there- 
fore, simply mark on the scale of thirds opposite figure 
representing one-half of hip measure, or 20, which by 
measuring from the corner of the square to this mark is 
six and two-thirds on the scale of inches, that is one-third 
of one-half of forty equals six and two-thirds. 

DRAFTING TOP OF SKIRT. 

Measure down from the top of paper on its right edge, 
from ten to fifteen inches and draw to the left a horizontal 
line, by placing the FACE of the square down, with the cor- 
ner and short arm on the edge of the paper. As the width of 
the front gore is one-sixth of one-half of the hip measure, 
and since the hip measure is forty inches in this draft, the 
length of Line 1 will be 20 on the scale of sixths, which by 
testing is found to be three and one-third on the scale of 
inches. 

From the left end of Line 1 draw a straight line down 
six inches long at a right angle with Line 1 and mark this 
Line 2. This is done by placing corner of the square on 
left end of Line 1 and letting the short arm of square touch 
Line 1 and drawing Line 2 by the long arm of square until 
it is six inches long. In future lessons, for convenience, we 
will call this process "squaring" on a line. From the 
lower end of Line 2 draw a line to the left one-half inch 
long at a right angle with Line 2 and mark it Line 3. This 
is done by squaring on Line 2 or placing the square so that 
its short arm will touch Line 2 and its long arm will extend 
to the left. (See draft.) 

Now,' with the square touching the left end of Line 3, 
also junction of Lines 1 and 2, draw a straight line, letting 
it extend about six inches above Line 1 or hip line and 
about 10 or 12 inches below Line 1, and mark this Line 4. 

Next, square on Line 4, or place the corner of the 
square at junction of Lines 1 and 4, and let the short arm of 
square touch Line 4, and draw a line from the corner, the 

Page Five 



length of one-third of one-half of the hip measure, which is 
the width of the first side gore at the hip line. Since the hip 
measure in this draft is forty, the length of this line will be 
20 on the scale of thirds. Mark this Line 5. (See draft.) 

Line 6 is now drawn by squaring as in drawing Line 2. 
Draw Line 7 similar to Line 3, only make it three-quarters 
of an inch long, then draw Line 8 like Line 4, and the same 
length. Now, square on Line 8, or place the corner of the 
square on junction of Lines 5 and 8, and let the short arm of 
square touch Line 8, and draw a line to the left from the 
corner of square the same length on the scale of thirds 
as Line 5, and mark it Line 9. This is the width of the 
second side gore at the hip line. (See draft.) 

Draw Line 10 similar to Lines 6 and 2 and draw Line 
11 similar to Lines 7 and 3, making it one inch in length; 
also draw Line 12 similar to Lines 8 and 4. Square on 
Line 12, or with the corner of square on junction of Lines 
9 and 12, and the short arm touching Line 12, draw a line 
the same length as Line 1 (one-sixth of one-half of the hip 
measure) and mark it Line 13. This line will also come to 
20 on the scale of sixths. This is the width of the back gore 
at hip line. Draw Line 14 like Lines 10, 6 and 2 were drawn, 
and make Line 15 the same as Line 11. Draw Line 
16 according to instructions given for drawing Lines 12, 
8 and 4, only make it about six or seven inches long above 
the hip line. (See draft.) These four lines are drawn 
of indefinite length above the hip line at first, their length 
being determined or fixed when the waistline is constructed. 

TESTING HIP LINE. 
This completes the hip line for one-half of the skirt 
draft, which is represented by Lines 1, 5, 9 and 13. The 
next important step is to test this line. It should measure 
twenty inches, as the entire hip measure is forty inches. To 
do this place the square, face up, with its corner on the 
right end of Line 1 and its short arm on edge of paper above 
hip line and the long arm along Line 1. Place the forefinger 
of right hand on square at left end of Line 1, and hold very 
firmly, while with the left hand swing square up gently 
until it reaches Line 5. See to it that it does not slip back- 
wards or forwards. Before releasing left hand from the 

Page Six 



square, place the forefinger of right hand on square at left 
end of Line 5, and move it upward with the left hand until 
it touches Line 9. Before releasing left hand, place right 
forefinger on square at left end of Line 9, and move square 
as before until it touches Line 13. The twenty-inch mark 
on square should come to end of Line 13 if the drafting 
and measuring have been properly done. 

If the measure and draft do not correspond the first 
time, test them again to be sure the square did not slip 
backwards or forwards, and if it tests incorrectly the sec- 
ond time the probabilities are that the fault is in the draft- 
ing, therefore go back to the first again and test each line 
separately. That is, test Line 1 to see if it is one-sixth of 
one-half of the hip measure. If it is correct its left end wili 
come to the twenty mark on the scale of sixths. Then meas- 
ure Line 5 by testing it just like instructions for drawing 
it, placing the corner of square at junction of Lines i and 
4, with the short arm of square touching Line 4. You will 
recall that the length of this line should be one-third of one- 
half the hip measure, and if it is correct the left end of Line 
5 will come exactly to the twenty mark on the scale of thirds. 
Move square to the left and test Line 9 just like Line 5 was 
tested. It should be the same length as Line 5, and its 
left end should also come to the twenty mark on the scale 
of thirds. Move square to the left and test Line 13. It 
should be the same length as Line 1, and its left end should 
come to the twenty mark on the scale of sixths. 

CONSTRUCTING THE WAISTLINE. 

When the hip line corresponds exactly with the meas- 
ures taken, the next step is to locate the waistline and to 
take out the darts or difference between the waist and hip 
measures. The length of all the gores from the hip line 
to the bottom must be the same, the difference in the lengths 
coming above the hip line. The position of point D is 
always determined or fixed by the length of the dart above 
hip line. The length of the dart in this case is six inches. 
So locate the waistline at the side by measuring up six 
inches from the hip line on Line 8 and mark point D. Since 
the distance from the hip line to waistline is six inches on 
Line 8, and since all the gores must be equal length below 

Page Seven 



hip line, this would leave thirty-five inches in this instance 
for length of gores below hip line since the entire side 
length is forty-one inches. Next locate the waistline at 
the center of front gore by taking the difference be- 
tween the entire front and length below hip line. Since its 
length below hip line is 35 inches, and its entire length is 
40 inches, the length from hip line to waistline must be 
five inches. So measure up from the right end of Line 1 
five inches and make point E. Now locate the waistline 
on Line 16 by taking the difference between the entire back 
length (41) and the length below hip line (35). In this 
case since the entire length of the back and the side are the 
same, Lines 8 and 16 will of course also be the same length 
above the hip line as well as below. Then measure up six 
inches from hip line on Line 16 and make point F. Now 
to locate the waistline on Line 4, place A on square 
upon D on draft, having curved edge toward hip line or 
lower part of skirt. Hold it in place here with one hand 
while with the other hand move square to touch point E. 
Holding square firmly in position make a point on Line 4 
just where square touches it, and mark this point G. To 
locate the waistline on Line 12, place A Curve on square 
upon D on draft. Hold in position at this point and move 
square until its edge touches point F. Make a point on 
Line 12 where the square touches it and mark the point H. 
This gives five points, D, E, F, G and H, from which to 
work to take out the darts. 

Make a slip knot in a piece of wrapping cord or twine 
and place point of pencil through loop and draw the knot 
up close to pencil. Now place the point of pencil on G and 
placing forefinger holding cord on junction of Lines 1 and 
4, swing pencil back and forth about two inches each way, 
making the curved Line 17 about 4 inches long. Be very 
careful not to let the cord slip or your markings will not 
come in the same place each time. Make the curved Lines 
18 and 19 in the same manner. (See draft.) 

Now a very important step is to measure the waistline 
to see how much is to be taken out. Place the corner of the 
square with its face up on E. Hold it firmly there and 
move the square so its edge will touch dot G. Hold it on G 
with forefinger of right hand and gently move the square 

Page Eight 



with the left hand so its edge will touch point D on draft. 
Remove right forefinger now to D and move square until 
its edge touches F, and while in this position mark the 
point representing one-half of waist measure. The waist 
measure in this case is 24 inches, therefore make a dot 
along the scale of halves directly opposite the mark repre- 
senting the entire waist measure. Lift the square and 
measure from the dot just made to point F, which will give 
the amount to be taken out in darts. As a rule a little less 
than one-half of this amount should be taken out in the dart 
that comes over the hip and a little less than one-half of the 
remainder should be taken out of the front dart or at Line 
4, and the balance out of the back dart or at Line 12. In 
this draft there are five inches over the original measure 
of half the waist (12 inches) to be taken out in the darts. 
One-half of five is two and one-half inches, therefore the 
side dart is made two and one-fourth inches wide, which 
is a little less than one-half. This leaves two and three- 
fourths inches to divide between the front and back darts. 
The front dart usually is a little smaller than the back 
dart, so use one and one-fourth inches for the width of the 
front dart, and the remainder, one and one-half inches, for 
the back dart. When taking out the darts always take off 
a little more from the bias side of the gore than from the 
straight side. In the seven-gore skirt make one-fourth 
inch difference. 

Since two and one-fourth inches are to be taken out at 
side dart or Line 8, measure one inch to the left from point 
D on the curved Line 18 and make point I ; also measure one 
and one-fourth inches to the right of point D and make point 
J. Now take out the front dart, which is one and one- 
fourth inches, by measuring one-half inch to the left from 
point G and make point K on the curved Line 17; also 
measure three-fourths of an inch to the right of point G 
and make point L on the curved Line 17. Next take out 
back dart, which is one and one-half inches, by measuring 
five-eighths of an inch to the left from point H, and make 
point M ; also measure seven-eighths of an inch to the right 
of H, and make point N on the curved Line 19. (See draft.) 

Page Nine 



TESTING WAISTLINE. 

Now measure up waistline outside of these points just 
made to be sure it is correct. Place the comer of square, 
with its face up, at point E and measure to L. Place fore- 
finger of right hand directly on the mark on square where 
it touches L and move square with left hand until the mark 
upon which forefinger is held is directly on K, and measure 
from K to J. Again place forefinger of right hand direct- 
ly on the square where it touches J, and move square with 
left hand until the place upon which forefinger is, is 
directly on I. From I measure to N. Then move square 
as before and measure from M to F. This should measure 
12 inches. If it does not correspond, test it over again 
carefully and notice that the square does not slip either 
backwards or forwards. If it is still incorrect the error 
is probably in taking out the darts, and they will also 
have to be tested. Measure from I to J, which should be 
two and one-fourth inches; also measure from K to L, 
which should be one and one-fourth inches, and then from 
M to N, which should be one and one-half inches. (See 
draft.) 

DRAWING DART LINES. 

When the waist measure and draft correspond, put in 
the lines which form the darts, or which outline the gores 
from the hip line to waistline. Connect hip line with point L 
bj'^ placing the face of square down, and drawing Line 20 
by placing A Curve on square about one-half inch below hip 
line or junction of Lines 1 and 4, and having edge of square 
touch L. Place C Curve on square on junction of Lines 
1 and 4, and let the edge of square just touch point K on 
draft and draw Line 21. 

Since the largest dart is taken out at the side or directly 
over the largest part of hips, and since a little more is taken 
off the bias side of gore than off the straight side, the 
greatest amount will then come off back edge of first side 
gore. Place A Curve on the junction of Lines 5 and 8, and 
let the edge of square just touch point J, and draw a line 
from hip line to J and mark it Line 22. Next reverse the 
square and connect point I with hip line so that this line will 
not touch Line 8 until it reaches the hip line. Mark this 
Line 23. (See draft.) 

Page Ten , . . J 



Next, draw Lines 24 and 25, according to instructions, 
connecting hip line on Line 12 with points N and M. Place 
C Curve on square about one inch above N on draft and 
draw Line 24. Place C Curve on square at junction of 
Lines 9 and 12, and let the edge of square just touch point 
M on draft and draw Line 25. Carefully observe in every 
instance that these curved lines do not touch the perpen- 
dicular lines until they reach the hip line, except where the 
curves are very slight, and even in this case do not allow 
them to touch the perpendicular lines more than one-fourth 
of an inch above the hi^ line. If this is not observed the 
dart will be shortened which will make the fitting difficult. 
This can be avoided by moving the curved side of square up 
and down until the correct place is found by which the 
curves can be drawn. 

Now draw curves for the waistline or the top of each 
gore. Draw a line connecting E and L by placing A Curve 
on E, and mark this Line 26. Lift square and place A Curve 
about midway between points K and J and draw a line con- 
necting K and J, and mark this Line 27. Connect I and N in 
the same manner, with A Curve about midway between 
them, and mark it Line 28. Connect M and F by placing 
A on F having curved edge of square toward hip line and its 
edge touching M and mark it Line 29. 

INVERTED PLAIT. 
This completes the upper part of the draft for a seven- 
gore skirt ready to extend to full length, with the excep- 
tion of the inverted plait on the back, in case one is desired. 
This plait is usually made four inches wide at the waist- 
line. Measure down six inches in any case from top of Line 
16 and make a point. Place the corner of square on this point 
with its short arm touching upper part of Line 16, and draw 
a line four and three-fourths inches long and mark it Line 
30. In different measurements it will be observed this will 
not bring hip line in back gore the same distance below 
_ Page Eleven 



waistline as Line 30 on accompanying draft. Line 30 is 
drawn three-fourths of an inch longer than Line 31 in order 
to give the plait flare at the bottom. If a narrower plait is 
desired, draw Line 30 shorter and Line 31 three-fourths of 
-an inch shorter than Line 30. Likewise if a wider plait is 
desired, increase in the same proportion. 

Now draw Lines 31 and 32 by placing square, face 
down, so that its edge on short arm of square will touch F 
at the four-inch mark and its long arm will touch left end of 
Line 30. Begin at F and draw a line to corner of square and 
mark this Line 31. From corner of square draw a line down 
extending below Line 30 about ten or twelve inches and 
mark this Line 32. By creasing draft on Line 16 and fold- 
ing it back so that Line 16 will come directly on Line 32, it 
will give correct position of the inverted plait. While it is 
in this position, run the tracing wheel along on Line 
29. Unfold and it will be observed that the middle of the 
plait does not extend up quite far enough if it terminates at 
Line 31. Therefore ascertain and mark the center of Line 
31 and >raise the plait as far above Line 31 as the tracing 
indicates by placing corner of square on the center mark 
and its. long arm along Line 31. • Draw a line the desired 
length and mark it Line 33. Draw Lines 34 and 35 by con- 
necting the upper end of Line 33 with point F and top of 
Line 32. One-half inch is sufficient raise for the center of 
plait, except in very extreme cases and therefore, it has 
been made so in the large draft. The tracinjj as just de- 
scribed will give the distance it is to be raised in each case, 
however. 

EXTENSION OF GORES. 
The gores are now ready to be extended the full length. 
As stated in the beginning of the lesson, they are all the 
same length from the hip line to the bottom. The entire 
side measure in this case is 41 inches. Since the dart length 
above the hip line is 6 inches, the gores will all be 35 
inches from hip line to bottom. Beginning at the front 
Pagfe Twelve 



edge of paper measure down 35 inches from the right end 
of Line 1, and mark it. Also extend Lines 4, 8, 12, 16 
and 32 until they are each thirty-five inches in length. 
Since the gores are so wide at bottom, the best way to se- 
cure a pretty bottom line is to divide each gore into thirds 
by slight marks. Make these divisions in about three 
places — at hip line, half way down the length of gore and 
near the bottom. (See Fig. 137.) Now measure from the 
hip line to these marks and make a small mark at bottom 
where the 35-inch mark on yard stick comes. Then con- 
nect these points at the bottom between the lines, marking 
the bottom line by a slightly curved line such as the curve 
on square from C to B. 

Before drawing the bottom outline for the inverted plait, 
fold the draft back on Line 16, seeing to it that Line 16 
comes directly over Line 32 all the way down, then with the 
tracing wheel begin at bottom of Line 16 (that is, at bottom 
of line where the draft is folded) and trace along the bot- 
tom outline of skirt until the tracing extends across the 
folded plait. Unfold draft and mark bottom outline of 
plait according to the tracing, otherwise the skirt will not 
hang evenly at the bottom across the plait. 

When taking skirt measurements, always observe in 
particular the build or form of the person. You may take 
the measures of two persons who have the same waist and 
hip measures, and yet their forms be entirely different; 
one may have a large, full stomach and be flat on the hips, 
while the other may have a flat stomach and very round 
hips. Thus the skirt drafting for these two persons would 
be quite different. As a rule the largest dart is on the side 
over the hip. In the model draft the next largest dart is 
in the back, and the smallest dart in front, but in a form 
that is flat in the back and with large stomach the largest 
dart would be placed over the hip, the second largest in 
the front and the smallest in the back. 

Page Thirteen 



Note: — As stated in the beginning of this lesson, the 
seven-gore skirt draft for which we have just given instruc- 
tions is used only as a foundation basis ; therefore do not cut 
an outside skirt (unless the skirt is to be quite narrow), 
until you have learned how to add fullness to the bottom of 
this draft. This draft meas- 
ures forty-nine inches includ- 
ing the inverted plait, 
which would make the 
entire skirt only 
twice that, or two 
yards and 
26 inches. 



I I 



J L. 



FIG. 137. 

Fullness or width is added to the skirt in different 
ways which will be explained in this and succeeding lessons. 
One of the simplest ways and yet neat and stylish is by 
adding a plait on each seam. This is done by cutting the 
seams as much wider than the original seams as the plaits 
are desired. Baste the seams up on the tracings and fit 
the same as a plain skirt. Stitch the seaixis on the outside 

Page Fourteen 



of skirt to suit the taste. They may be stitched an equal 
distance from the waistline or the plaits may graduate, that 
is, stitch the seams in front down to about knee-depth, or a 
little below, and then make a gradual raise on each seam 
toward the back. Stitch the back seam all the way down, 
but when stitching on either side of the placket, stitch only 
placket length, allowing the plait to fall out from there 
down. 

To make a tuck turning toward the front on each seam 
turn the seams from underneath so that their edges will 
turn toward the back of skirt, and stitch back from the 
basted seam at an even distance. To make tucks turning 
toward the back, turn the seams so that their edges will ex- 
tend toward the front and stitch as above. Then, when the 
top skirt is stitched as desired, turn the skirt wrong side 
out and finish out the stitching of the seams, taking as small 
a seam as practicable, so that as much will be left in the 
plait as possible. Press well before taking out the basting. 

ADDING FLARE. 

Next will be given instructions for adding width to 
the bottom of the seven-gore skirt which will neither be by 
plaits, tucks, gathers, or any of the ways previously referred 
to, but the skirt is to be left perfectly plain, and we will call 
this way of adding to its width "flare," to distinguish it 
from the other ways. It will be so called in referring to 
skirts of this kind in succeeding lessons but please do not 
confuse the flare skirt of the present with that of years ago 
where the skirt hung in ripples all around. True, the same 
term applies to both but the width at the bottom, or flare, 
varies greatly. 

First determine how wide the skirt is to be around the 
bottom, when finished. Four and one-third yards is con- 
sidered a good average width for a seven-gore flared skirt. 
This will vary according to the prevailing style and also the 
skirt length, the short skirt requiring less flare than the long 
length, also a stout figure less than a slender one. 

Measure the width at bottom of the plain draft, and 
subtract this from one-half the width skirt is to be when 
finished, which will give the amount to be added to the 
draft. Make the least of the flare on the front part of 
skirt, adding more of it to the bias edges of the gores 

Page Fifteen 



than to their straight edges, and a greater proportional in- 
crease on the bias edges than on the straight. Next count 
the number of edges upon which the extra width is to be 
added and proportion it accordingly. 

Make a point on Line 4 where the flare is to begin and 
from this point draw a line to a point on Line 12 where the 
flare is to extend similar to Line 21, in nine-gore flare. 
Fig 150, which in these instructions we will also refer to the 
line to which the flare extends as Line 21. 

It is found by estimating, that this draft must measure 
78 inches after the flare is added, to make it four and one- 
third yards around the entire skirt. Four and one-third 
yards equals 156 inches, and half of this amount (which is 
the part represented by the draft) , is 78 inches. Then, by 
subtracting the width of this draft at the bottom — 49 inches 
— from the width, it should be after the flare is added — 78 
inches — it will leave the amount to be added in the flare, 28 
inches. In this draft there are six edges upon which to add 
the flare, or seven when the inverted plait is not used. 
In the draft this plait is shown (see Fig. 137), so that the 
flare added to the front edge of back gore, which is cut out 
with the inverted plait, is usually deemed sufficient without 
adding any to the plait at the back. 

As the amount added to the front edge of the gores is 
increased in a regular proportion, as is also the amount add- 
ed to the back edge of the gores, it is best, to avoid con- 
fusion, one with the other, to add the flare first to the back 
edge of each gore and then to the front edge of each. 

Beginning with the back edge of the front gore, add one 
inch ; that is, measure on bottom outline of skirt one inch to 
the left of Line 4, which is the original back edge of front 
gore, and from this mark draw a line up to the junction 
of Lines 4 and 21. Then this new line will mark the back 
edge of the front gore after the flare is added. The flare 
added to the front edge of the first side gore will be 
three-fourths of an inch, since less is added to the straight 
edges than to the bias. Do this by measuring on the bot- 
tom outline of skirt to the right three-fourths of an inch 
from Line 4, which is the original front of this gore, and 
from the three-fourths inch mark draw a line to the junc- 
tion of Lines 4 and 21. This new line will mark the front 

Pajre Sixteen 



edge of the first side gore, after the flare is added. Now, 
as a greater proportional increase is required on the bias 
edges than on the straight, increase the bias edge in this 
case four and one-half inches and the straight edges three 
and one-half inches. 

Be careful in adding the flare to measure out from 
the original edge of the gore, and as soon as the amount 
of flare is marked, immediately draw the lines indicating 
the new edge of gore (as instructed in adding the flare to 
the front and first side gores) , so the marks will not be con- 
fusing. To the back edge of the front gore was added one 
inch, and increasing this four and one-half inches will 
make five and one-half inches added to the back edge of 
the side front gore and 10 inches to the side back gore. To 
the front edge of the side front gore was added three- 
fourths of an inch, and since the increase on these edges is 
three and one-half inches it would make four and one-fourth 
inches to be added to the front edge of the side back gore 
and seven and three-fourths inches to front edge of back 
gore. 

Beginning at front edge of draft, indicate the respect- 
ive edges of the gores, after adding the flare, by drawing 
an arrowhead line across each gore near the bottom from 
one edge to the other, similar to those shown in Figs. 150 
and 151, so that the pattern may be traced and cut without 
any mistake. These lines can be easily followed by glanc- 
ing above Line 21 at the original edges of the gore and 
following the lines outside the original edges, which are 
the new outlines. In adding the flare in some instances 
where the new outlines of the gores join the original ones 
on Line 21, the slope is not gradual enough. Obviate this 
by placing point C on the square on the perpendicular line, 
about one and one-half inches above the junction lines (or 
far enough to make the flare slope off gradually) , and draw 
a line. 

The next step is to trace and cut the different gores, 
as instructed in this lesson. Part of them may be cut from 
this draft, while others must be traced, as the lower edges 
in some of the gores overlap. By glancing at the draft it 
will be observed that the front and back gores may be cut 

Page Seventeen 



from the draft, therefore, trace the other two gores on 
another piece of paper first. 

CUTTING THE SKIRT. 
Very few skirts at the present time are lined, or if a 
lining is used, it is in the form of a foundation or drop 
skirt, made entirely separate from the outside skirt. The 
lined skirt is scarcelj'- ever seen, though there is some talk 
every little while of its return, but it is hardly likely to be 
very popular, as it is always so heavy. 

Woolen material should be sponged and shrunken be- 
fore cutting and making a skirt, or it will shrink and 
show spots after it is made. Lesson 12 fully explains the 
different methods of shrinking. 

Trace and cut out the pattern, and in doing so, first 
trace the hip line so that it will be sure not to be overlooked, 
then the waistline, bottom and sides. The back edge of 
the front gore is formed by Line 4 which extends from 
hip line up to waistline. The front edge of the side front 
gore is formed also by Line 4 from hip line to bottom out- 
line, but by Line 21 from hip line to waistline. Its back 
edge is formed by Lines 8 and 22. Likewise, Line 8, from 
hip line down to bottom and Line 23, form the front edge of 
the side back gore and Lines 12 and 24 form its back edge. 
Line 12, from hip line to bottom, and Line 25, form the front 
edge of the back gore, and Line 16 its back edge, unless the 
inverted plait is used, then Line 32 forms its back edge. 

When tracing and cutting, pay no attention to Lines 
2, 3, 6, 7, 10, 11, 14 and 15, as they are only used to give 
the proper slant to the lines that represent the edges of 
the gores. 

After tracing and cutting the gores, mark the edges 
with notches at the hip line — the front gore with one notch 
and the front side of the side front gore with one notch, as 
these two edges join. Mark the back edge of the side front 
gore and the front edge of the side back gore with two 
notches, as these two edges join. In other words, mark both 
edges of Line 4 with one notch, both edges of Line 8 with 
two notches, and both edges of Line 12 with three notches. 
This will prevent the misplacing of the gores when basting 

Page Eighteen 





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them. Also make a straight 
line on the front edge of 
the gores to indicate that 
they are the edges to be 
placed on the straight of 
the goods. (See Fig. 138.) 

Fig. 138 shows how to 
lay the pattern of a plain 
seven-gore skirt on forty- 
four inch material, with no 
nap, or up-and-down fig- 
ures, the white lines repre- 
senting chalk marks for the 
seam allowances and finish 
at bottom, where a facing 
is to be used. 

Pin the front gore with 
its perpendicular or 
straight edge on a fold of 
material, as this is the cen- 
ter of the front, having the 
bottom of the pattern at the 
end of the goods in order 
that the top of some other 
gore may be placed up into 
the piece left, provided the 
material has no nap. (See 
Fig. 138.) Fold pattern 
over on the traced hip line, 
mark along its folded edge, 
then smooth back and pin 
in place again. Next mark 
at top, bottom and sides 
very carefully as these are 
the lines upon which the 
mark-stitching is done, if 
the material will not show 
tracing, and should be ac- 
curate. 

Before placing the pat- 
tern on material that is to 

Page Nineteen 



be markstitehed fold the goods so that when cutting 
thii markstit?^)ing threads, the little ends will come on the 
side where the machine stitching is done, otherwise it will 
be quite diificult to remove the markstitching. In the plain 
gored skirt, fold the material so that the right sides v/iU 
come on the outside and wrong sides will face each other. 
Arrange the other gores on the material to the best ad- 
vantage, bearir.c; in niind the width the seams will take up, 
also finish at the bottom, so that when cutting, the ^voifS 
will not be placed too close to make the required aVlow^- 
ance. Keep the front edge of each gore on the straight of 
the goods. When rutting gores that have the flare on 
both edges, place the center of each gore on the straight. 
Make at least a three-fourths-inch seam, or wider if the 
model requires, one-fourth of an inch above the waistline, 
and f <om one-half to one inch longer than the pattern, if the 
skirt is to be faced. If a hem is used, add to this amojnt 
the width the he^n is to be. 

When the inverted plait is used, cut it together \v;th 
the back gore, folding the pattern back on Line 16 and 
marking material along the fold, so that its position will 
be indicated. Wlien the material is narrow, one may iiave 
to piece on the lower part of the bias edges of the gores. 
When it is done, be sure to have the piecings cut on a 
straiglii line of the goods where it is to be sewed to the 
gore. Do not piece a bias edge on a straight edge. In fold- 
ing the pattern hack, commence at a point where the edges 
of gores begin to run too close to each other and measure 
from, this point across to the straight edge of gore, then 
make the fold at the bottom this same distance. Cut on 
the fold, making a straight line on the upper side of the 
small piece along the line just cut, as this edge must be 
placed on a straight thread of material and also on the 
same s'de of the goods as the gores. 

After all have been correctly arranged, pin into posi- 
tion, ivnd mark along the edges, also mark the same width 
from the edges on all, and cut out. 

Remove the pattern, one piece at a time, pinning the 
thicknesses together again and markstitch, if material does 
not .show tracing, so that in putting the skirt together one 
side will be exactly the same as the other. 

Page Twenty 



Instructions for cutting plaited skirts, those from 
.-ti'iped and plaid material, etc., will be given in succeeding 
lessons. The instructions given in this lesson are for a 
round seven-gore skirt. By "round length" is meant a 
skirt that just touches the floor all around. If making a 
far/:y skirt, make it to touch the floor in front and on each 
side and with a graceful sweep in the back, so make the 
p:ittern accordingly. The sweep must be even and gradual 
at tl.e bottom or the beauty of it will be lost. 

BASTING THE SKIRT. 
First fold the edges of the front gore together and run 
a basting along the folded edge as a center mark. Always 
start with the front gore and pin the first side gore to it, 
beginning at the hip line and pinning down rather close, 
and then pin from the hip line up, and be careful not to 
stretch the bias edge. Pin all the 
gores this way before basting, placing 
the straight edge of each to the bias 
edge of the other; or, put the corre- 
sponding notches together. Hold the 
bias edge next to you in each case. 
(See Fig. 139.) This is very import- 
ant. The two bias edges of the back 
will come together at the center in 
the back. Leave an opening for the 
placket. Use moderately short 
stitches in basting. 

FITTING THE SKIRT. 
Cut a piece of skirt banding the 
length of the waist measure, plus 
two inches for lapping, and after al- 
lowing for the underlap, notch the 
center of the remaining length. Pin 
this in position around the person 
to be fitted, placing the notch directly 
in front. Do not lap the ends of the 
band in the back, but pin to form a 
seam in the center back as tight as 
can be drawn as it is bound to slip a 
little and will be amply loose when 
pinned. Put the skirt right side out 




Fig. 139. 



Page Twenty-One 



on the person and pin the center of the front gore to the 
center of the Ijand; also pin all the seams to the band, let- 
ting them come up easily and smoothly over the hips and 
having them straight from the hips to the waistline and pin 
so the seams Vv'ill slant neither toward the front nor the 
back. Arrange the inverted plait in position in the back 
and pin it so tiiat :ts edges come together five or six inches 
below the band, without overlapping or having to be drawn 
together to make stay in position. If too large, turn under 
on both edges alike, but if too small, roll the edge oat on 
both edges sufficient to make it an easy fit. It frequently 
happens that the upper part of this plait will need to be 
turned under and the part at hip line let out and some- 
times the reverse. Whichever it may be, see to it when 
making the alterations that the same amount is added to or 
taken off one edge that there is on the other. 

If the other gores are too wide at the top, take the full- 
ness out at the seams. To do this smooth the fullness as 
close to the seam as possible and pin the skirt to the band, 
having the fullness between the pin and the seam. Re- 
move the pin holding the seam to the band, rip the basting 
as far down as it needs be taken up, and pin on the double, 
holding the edges of the seams together where the fullness 
is to be taken from both sides alike. At the extreme ter- 
mination of the fullness place a pin horizontally or cross- 
wise as it can be tapered off more easily and smoothly in 
the basting than in the pinning. If the fullness is taken 
from one edge only, pin as directed above. In this case, of 
course, when taking up the fullness the edges of the seams 
will not come even with each other and it will be necessary 
to be especially careful to make the line for the seam smooth 
at the termination of the fullness as it is not so easy as where 
an equal amount is taken up on each side. 

Have the person being fitted sit down in order to as- 
certain if the skirt sets well in front .when she is sitting ; 
it will roll up across the stomach if it is too tight there. 
Extraordinary care must be exercised here, as the skirt 
must not be fitted too tight around the hips and stomach 
and yet it must not be allowed to hang in little lengthwise 
folds from the waist to hips. When the skirt is too tight, 
the trouble may frequently be obviated by raising the skirt 

Page Twenty-Two 



a trifle on the band. If it is much too tight, let out a little 
on all the seams and also the inverted plait at center back, 
if the plait is used. It is proper to have the skirt slightly 
larger than the belt so that it will need to be eased in. This 
will give an easier, better-looking fit. 

Notice all the seams closely to see that they run 
straight from the hips to the waistline. When the fitting 
of the skirt at the top has been completed, remove it and 
first fold skirt band together at center notch and hold it 
together at the back to see that the seams of the corre- 
sponding gores meet at the same point on either side of the 
band, and also that the back edges of skirt or the width 
of back gores are exactly the same, otherwise the skirt 
will be wider on one side than the other. The band will 
have to be removed to make the alterations, but before 
doing so run a basting thread at the lower edge of it; also 
along the edges of the inverted plait. 

There are cases where one hip is higher or fuller than 
the other, or the sides not alike and it is necessary to fit 
each side differently. In such cases, however, where the 
difference is quite noticeable, the smaller side should be 
padded out to correspond with the other, marking just how 
far the padding must extend, or, where the difference is 
not much, one may be fitted a little looser than the other. 

In the symmetrical form, if the seams do not corre- 
spond and the corresponding gores are not the same width, 
make them so. The cause of the seams not being directly 
across from one another may be due to their being pinned 
on the band a little tighter or looser on one side than the 
other and if so readjust. If, however, it is caused by the 
gores being unequal in width, make them equal by dividing 
the difference into halves and widen one gore and narrow 
the other until they are equal. For instance, if the dif- 
ference is one inch, one-half of this is added to the narrow 
gore and the other half taken from the wider gore. To 
do this in goods where the pin marks show, separate the 
seam by removing the pins one at a time, putting them 
back in the holes in one edge of the seam from which they 
were taken and another pin in the corresponding holes 
on the other edge. Remove the pins on the other side of 
skirt, and then pin corresponding gores together seeing 

Page Twenty-Three 



that their edges are perfectly even and if the pins on the 
upper side of the skirt correspond to the pin holes on the 
under side, trace from one pin to the other, beginning on 
the original seam just beneath where the alteration ter- 
minated and continuing to waistline in a smooth line. One 
pin may be a little out of line and if so this is corrected 
in the tracing so that the curve or line will be smooth. If 
the pin holes on the same edges of corresponding gores do 
not correspond, trace half way between each, which will 
make the gores equal in width, as it is the same thing as 
adding to one the amount that is taken off the other. 

Or, if the material will not show pin marks, chalk 
across the pin on both sides of it, holding the forefinger 
of the left hand underneath in doing so. Continue until 
all have been marked on one side of the skirt, remove pins 
connecting the markings from one pin to another and baste 
through so that the basting will show on the wrong side. 
Also remove the first markstitching as far down as altera- 
tion extends. Next pin the corresponding gores together 
and markstitch the alterations. 

After making any changes necessary, baste the band 
on and put the skirt on again to see if the alterations have 
been properly made. If, however, the measurements are 
taken carefully and the drafting, cutting and basting have 
been done according to instructions, very little or no fitting 
will be necessary. The instructions for fitting will, how- 
ever, come in well when fitting a garment that has been cut 
by someone else or where a customer insists that it be cut by 
a store pattern that she happens to have. 

Before ascertaining the length, observe if it fits per- 
fectly around the top, at the waist and around the hips; 
also see if the skirt sags or pulls down in the back; if it 
does, raise it up and trim off a little at the top. If trim- 
ming it makes it too large at the waistline, take the seams 
up a little. 

If the person is very slender and the skirt is made 
plain around the hips, her appearance would be much 
improved if both hips are padded a little. If she is flat 
in the back, a small bustle should be worn, or a pad may 
be made and fastened in the skirt at the last fitting; slope 

Page Twenty-Four 



if off gradually from the waistline. The skirt length is 
now ready to be measured. 

Fit the skirt over the same number of petticoats as 
will be worn with it, as a skirt may be made from one- 
half to an inch shorter by a different set of petticoats. 
These petticoats should all fit smoothly over the hips to 
make the skirt set well. A change in corsets will also make 
a difference, as well as high and low-heeled shoes. 

Remove the skirt and mark the bottom with a bast- 
ing thread, on one side of it if the person is the same 
on both sides, otherwise it will be necessary to mark both 
sides as fitted. Also remove the band. 



Page Twenty-Five 





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Page Twenty- Six 



QUESTIONS. 

1. (a) How many, and what are the measures used 
in skirt drafting? (b) Explain how each is taken. 

2. (a) How are Lines 1 and 5 drawn, and how do 
they compare in length to Lines 9 and 13? (b) What is 
the next step after locating and testing the hip line, and 
how far above hip line, in every instance, is point D in the 
seven-gore skirt? 

3. (a) Tell how points E and F are located, also G 
and H. (b) What is the next step after locating the five 
points for the waistline? 

4. (a) In normal measures how are the darts pro- 
portioned? (b) Why is it important that the curves out- 
lining the darts or the edges of the gores above the hip line 
should extend to the hip line without touching the perpen- 
dicular lines? 

5. (a) Is Line 30 always the same distance from 
waistline? (b) How much longer is Line 30 than Line 
31, and why? 

6. (a) What portion of Lines 4, 8, 12 and 16 are the 
same length in a correct draft? (b) How is the correct line 
for the bottom of the inverted plait obtained ? 

7. (a) How can width be added to the bottom of a 
skirt except by plaits, tucks or gathers? (b) How is the 
estimate made for the flare to be added to the bottom of 
plain draft, (c) Is more flare added to the bias or straight 
edge of the gores? 

8. Explain the tracing and cutting of the gores of the 
skirt and tell how each is marked. 

9. (a) How is the front gore placed on the material? 
(b) What point should be taken into consideration before 
pinning the pattern on material that is to be markstitched ? 

Page Twenty-Seven 



10 (a) When cutting gores that have flare on both 
edges, how are they placed on the material? (b) Explain 
how a skirt is basted. 

11. (a) How is the skirt band cut and pinned on? 
(b) Explain how to pin skirt on the band and tell how to 
arrange the inverted plait. 

12. Explain how to fit the skirt. 

13. What is the first step after removing the skirt? 

14. Explain fully how the alterations are made in a 
skirt that does not show tracing. 

15. Draft an upper skirt pattern from the following 
measurements and send to us for inspection: Waist 22, 
around the hips 38, dart length 6, front length 38, side 
length 39, back length 39. 



Page Twenty-Eight 



THE 

AMERICAN SYSTEM 

OF DRESSMAKING 



A Course of 

Instruction by Mail 

in the 

Science and Art 

of 

Successful 

Dressmaking 

And Ladies' Tailoring 



Lesson No. 8 



The American College of Dressmaking 

(Associated Training Schools, Proprietors.) 

KANSAS CITY, MO., U. S. A. 



Copyrighted 1906, 1907, 1908 and 1909 
by J. M. Stelle 

Copyrighted 1910 and 1911 
b^ Associated Training Schools 



Jill rights reserved. 



Printed in the United States. 



Cl)e 



American s>v^ttm 
ofJ9re00mafein5 

TAUGHT ONLY BY THE 

American College of Bressmaking 
Hansas Citp, JHo. 

Miss Pearl Merwin, Supervisor. 

Lesson No. 8. 

STITCHING THE SKIRT. 

Commence at the top of the skirt and stitch down to 
the bottom. Always stitch both sides of the skirt in the 
same direction — not one side down and the other side up 
Do not stitch the back seam until all the others are stitched 
and the skirt has its first pressing. When stitching the 
back seam, if the material is quite firm, stitch in at the 
same time a narrow tape or a straight strip of lining about 
three-eighths of an inch wide. This will prevent the bias 
seam from stretching and sagging. If, however, the ma- 
terial stretches very easily, do not put in a straight strip as 
such material will in time stretch on either side of the stitch- 
ing and hang in small ripples so instead cut a strip just 
slightly on the bias so that it will give a trifle with the edges 
of the seam. The back of a skirt made of such goods will, 
with wear, sag on the bias seams in spite of anything that 
can be done to prevent it and when the skirt becomes un- 
even at the bottom the hem will need to be let out and turned 
up anew. 

Next draw out the basting and markstitching and 
press the skirt on a well padded board. Before pressing, 
turn back on the markstitching on either side of the back 
edges of skirt the placket length and baste with moderately 

Page Three 



short stitches, drawing the basting the same tension on 
both. Turn the skirt on the wrong side. If the material 
is cloth or woolen, press with a damp cloth between it and 
the iron, having the iron as hot as can be without scorching. 
(Try the iron on an extra piece of press cloth first.) First 
press the curved seams from the hip up on a tailors' cushion 
as illustrated in the coat lessons, stretching the skirt over 
the cushion so that the hip will retain its shape; open the 
seams with the fingers and dampen with a wet sponge or 
cloth before placing the press cloth upon it, and shrink out 
any fullness at the waistline between the seams, pressing 
until press cloth is perfectly dry and no steam can be seen. 
Then on a long well padded board, press the balance of the 
seam length, also between the seams as just described. In 
pressing the placket opening, place its edges together seeing 
that there are no gaps between and that one side is the same 
length as the other. Soft fabrics such as cashmeres, chal- 
lies, silks, etc., do not require dampening. Silk should not 
be pressed at all in the ordinary way of pressing, as the 
heat of the iron takes out the dressing and leaves the silk 
soft and old looking. When pressing the seams or tucks 
in silk, it should be done the same as for velvet ; do not press 
on a table or board, but lay the iron on its side and draw 
the seams or tucks over the edge of the iron. 

Next trim the seams evenly and finish them by over- 
casting, notching or binding. If the ma- 
terial is light weight a very neat method 
of finishing the seam edges is to turn them 
under from an eighth to a quarter of 
an inch and stitch close to the edge. Over- 
casting is described in Lesson 1 ; notching 
is used only in material that does not ravel 
such as the firm suitings and broadcloth 
and is shown in Fig. 140. To do this hold 
the edge of the seam over the forefinger of 
the left hand and between the second and 
third fingers with the second finger and 
thumb, placing the forefinger about one- 
fourth of an inch from the edge, clipping a 
notch out while in this position. Pull the *'**• **•• 

seam edge back a little at a time slipping the forefinger 

Page Four 




forward and continue to notch. When the material is heavy 
and frays easily, the best method of finishing is to bind with 
a strip of lining cut on the true bias about half an inch wide. 
Place the edge of the seam on the presser foot with the 
binding strip on top having its wrong side uppermost and 
their edges even, stitching back from the edges the width 
of the foot or between an eighth and quarter of an inch. 
Next turn the binding over the edge of the 
seam and stitch along just outside of 
where the first stitching came. (See Fig. 
141.) The raw edge of the binding will 
be hidden under the seam edges. Or, if 
you have a binder it may be used in bind- 
ing the seams, which will be much quicker 
as it can be done with only one stitching on 
each seam edge. 

FINISHING THE PLACKET. 
Plackets may be arranged either at the 
back, front, or side of a skirt. There are 
many methods of finishing them, depend- 
ing upon the design and also upon the fab- 
ric of which the skirt is made. The plack- 
et is one of the most important considera- 
tions in a well-made skirt and should be given careful and 
close attention. It may make or mar the general appear- 
ance of an entire gown. The skirt may be given a very 
amateurish look by sewing on 
the hooks and eyes improperly 
or doing the stitching inaccur- 
ately. In tailored skirts, where 
firmness is needed, place a nar- 
row strip of canvas about three- 
fourths of an inch wide, along 
each edge of the opening, letting 
one edge of it come just inside 
of the markstitching, turn 
back the seam's width over 
it and baste into position, cat- 
stitching the edge of the seam to mg. 142. 
the canvas. Prepare a fly or underlap of the material for 
the left side about two inches and a half wide and as long 

Page Five 




Figr. 141. 






as the opening (usually eleven inches). Finish the under 
edge by notching and bind the right hand edge and bottom 
with a bias strip of silk. (See 
Fig. 143.) Make a chalk 
mark lengthwise one and one- 
half inches from the bound 
edge of fly and baste left-hand 
edge of opening along this 
line. Cut a strip of facing silk 
about two and one-half inches 
wide for the right-hand side of 
opening. Turn under a seam's 
width and baste on wrong 
side just far enough back 
from the edge so that it can- Fig. 143. 

not be seen from the right side. Stitch both sides, the 
first stitching just on the edge and the second back about 
the width of the wide side of the presser foot, or one-fourth 
of an inch. Next baste the edges of the inverted plait into 
position, press and stitch. There are, of course, various 
ways of stitching it. The plait hangs better if it is not 
stitched the full placket length, neither is it stitched on the 
edge, but a little ways back from it. (See Fig. 143.) When 
stitching the right-hand side see that the loose edge of the 
facing silk is turned back so that the stitching will go 
through only one thickness of it. Mark oif for the hooks 
and eyes seeing that they come exactly opposite each other 
or the placket will not lie smooth when fastened. Press 
placket po-ain well before sewing on the hooks and eyes. 

The question of using either hooks and eyes or the 
patent fasteners must be settled by the individual. Many 
prefer the latter, while others would have nothing but 
the former. Whichever is used, see that they are sewed on 
firmly and close enough together to insure sufficient pro- 
tection against the strain at this point. There should be 
in any skirt at least five fastenings. To mark for the 
hooks and eyes place a pin on the inside of the right-hand 
side of opening at right angles with the edge of it and from 
three-eighths to half an inch below the line marking lower 
edge of belt, another in the same position about three- 
fourths of an inch from lower end of placket, dividing the 

Page Six 



distance equally by pins between the first and second pin. 
Hold the edges of the placket together, placing pins on the 
left-hand side exactly opposite those on the other side. The 
center of the hooks and eyes or fasteners should be placed on 
the pins and held into position while the pin is carefully 
drawn out. Before sewing them on fold the placket at the 
bottom with the left hand, holding its two edges together at 
the top with the right hand, being very careful to hold each 
side so that one will not be stretched more than the other, 
that is, so they will both have the same tension and if the 
pins on the left-hand are not all in the correct position 
change accordingly. 

If the skirt is of silk, cut a strip for the left side of the 
opening wide enough to double, hemming one edge, unless a 
selvage edge is used, and letting the raw edge come be- 
tween the wrong side of skirt and finished edge of the 
facing and about one-quarter of an inch back from this 
edge. If of light weight goods, cut a strip of the material 
about two inches wide for the fly, the length of the open- 
ing, finishing one side and end of it or cut it from a selvage 
edge and face this strip with a piece of lining silk. The 
right side of opening in either case is finished as just de- 
scribed except the canvas is omitted on both sides of 
opening. 

The habit-back skirt re- 
quires even more careful at- 
tention at the placket opening 
than any of the other designs, 
as the closing must be made 
as invisible as possible. (See 
Fig. 144.) The back seam 
should appear to continue to 
the waistline and there should 
not be the slightest gap at the 
opening. Lay a canvas one ^*^' *^- 

inch wide on the right-hand side from top to bottom of the 
placket along the mark-stitching. Turn edge of material over 
it the width of the seam and cat-stitch and press. Put the 
hooks and eyes on an equal distance apart — about one inch 
to insure a perfect closing. 

Cover or face this with a piece of lining, felling the 

Page Seven 




edge under the hooks and blind-stitching the other edge 
to the skirt. Cut a strip about four inches wide for a fly 
on the left-hand side, seaming one edge of it to the opening 
and press so that the edge of the seam may turn toward 
the front of skirt. Mark the places for hooks and eyes. If 
the round eyes are used, push the rings of the eyes back into 
the seam which joins the underlap to the skirt without 
breaking the machine stitching. They may then be sewed 
to the underlap on the wrong side also taking up a thread 
or two of the material at the back part of each hook. Next 
turn under the loose edge of the underlap and blind-stitch 
to the skirt. If the long eyes are used, they can be sewed 
on more conveniently after back edge of underlap is blind- 
stitched into position; the eyes being sewed through both 
thicknesses of it. 

In finishing the placket of a skirt which is shirred at 
the top, the effect will be spoiled unless the rows of shirring 
meet exactly on either side of the opening without any 
break in the lines of shirring. The rows of shirring must, 
therefore, be exactly the same distance apart on one side as 
the other and one side of the opening must not be stretched 
a trifle more than the other. When the left side is basted to 
the fly and the facing for the hooks is put on the right-hand 
side, push the shirring back a trifle from the edges so that it 
will give a straight line and 
stitch on the very edge. 
Then push the shirring 
back to the edge. 

Illustration of finishing 
a placket without sewing 
on a separate fly is shown 
in Fig. 145. This is done 
by stitching the back seam 
of skirt all the way to 
waistline, bringing the left 
edge of back gore over to 
this seam and stitching 
through the folded edge, 
and close to the back seam, *'*^- ^'^^' 

placket length. Continue the stitching to the bottom of 
upper skirt portion. On the right side, stitch along folded 

Page Eight 




edge only of back gore and inverted plait. Cut along the 
right-hand under edge of the inverted plait placket length 
and bind. Before stitching the right-hand side baste a 
piece of canvas cut on the straight about one and a quarter 
inches wide on the wrong side of skirt along the line mark- 
ing the back edge of back gore, extending half an inch or 
so beyond placket length. This is to sew the hooks to and 
is held firm by the stitching along the edge of opening and 
at lower edge of belt. 

The placket in wash skirts may be 

finished also as shown in Fig. 145 using 

a narrow strip of shrunken cotton in 

place of the canvas. Another way is as 

shown in Fig. 146. Cut a straight piece 

of material about two inches wide and 

twice as long as the opening. Stitch 

this continuously along the edges of the 

placket, so that the seam will come on 

the under side of skirt. Make the seam 

as narrow as possible and run it almost 

to a point at the lower end of the open- 
ing. The free edge of this strip is 

turned under a seam's width and folded along its length 

so as to allow the turned-under edge to reach the stitching of 

the seam just made and fell it down over the seam. 

The finishing of a placket on a 
skirt with an attached double box- 
plait in the center back is illustrated 
in Fig. 147. The hooks and eyes are 
sewed on the placket openings as de- 
scribed for the tailored skirt except 
the underlap and also canvas strip to 
go underneath is cut wider as the can- 
vas should extend back far enough to 
which to sew the second row of eye- 
lets. Second row of hooks is covered 
Fig. 14T. with binding ribbon felled down on 

either edge. 

The placket in a skirt with strapped seams is finished 
in the same way except that since the strap is not so wide 
as the plait, patent fasteners may take the place of hooks 

Page Nine 




Fig. 146. 




^ — ^^-^-.: :.: ■ .; .- -.-.o.i.^j.:.., ,^1,.,,: ■'; aoaii 



and eyes at center back opening and may be placed farther 
apart. 

Occasionally the opening in a skirt is on the left-hand 
side of the front, under a tuck or plait. Sometimes an ex- 
tension lap is put on the outside of the front closing and an 
underlap applied to the side gore that joins it. This ex- 
tension may be cut any shape desired, either with straight 
lines or fancy curves. (See Fig. 148.) Cut two laps, 

having one edge of each straight, and 

then stitch them together along the 

outlines or curved edges, leaving the 

straight edges open to be sewed to the 

skirt. Work three buttonholes in the 

extension lap, one each at the top, 

center and bottom, then after it is 

sewed to the skirt sew three buttons 

on the skirt to correspond with the 

buttonholes. The underlap is cut and 

sewed on the side gore the same as 

any other underlap. If desired, a 

trimming piece similar in shape to 

the extension lap may be put on the ^^^^^^^ ll%ii^t Gore of 

other edge of the gore. skirt. 

This extension lap may be allowed on the gore when 
cutting; it is then lined or faced and machine stitched and 
made to fasten upon the side gore, either with buttons and 
buttonholes or hooks and eyes. In this case, no underlap 
is needed. 

Pin the center front of skirt to the center of band, 
the edges of the placket opening to the marks representing 
one-half of the waist measure from center front and then 
pin two or three times from those points to center mark 
easing skirt into the band and baste. 

Turn the ends of belt in, baste its free edge and 
stitch, first slipping hangers up under the basting of the 
band, one on each side, at back of the hip on the wrong side 
of skirt and basting into position. These hangers may be 
made of a heavy finishing ribbon which comes three-eighths 
of an inch wide, cut about three and three-fourths inches 
long, or may be made from a strip of lining or facing silk 
one inch wide. Turn the edges so they will meet, fold 

Page Ten 



again and stitch on both edges. Where the material is thin 
the hangers must be placed under a seam so they will not 
show through from the right side. 

Sew the hooks on the band as shown in Fig. 143. 
Where a belt is worn the same as the skirt, eyes should 
be sewn on the band two inches from either side of center- 
back and hooks on the inside of the belt to correspond to 
them. Hooks should be sewn on the inside of the band a 
little less than two inches from center back or just enough 
to escape the eyes on the outside of band. (See Fig. 143 
also.) Eyes should be sewn on the band of waists to corre- 
spond to these hooks on inside of skirt band. One should al- 
ways use the same rule in sewing on each set of hooks and 
eyes so that skirts and waists may be changed at will and 
the fastenings will correspond. 

FINISHING THE BOTTOM. 

Fold the skirt at the center front mark holding the 
upper edges of the band even and pin the skirt together 
just at the lower edge of band. Lay the skirt on a table, 
pinning the corresponding seams together, smoothing the 
material carefully as they are pinned without in any way 
stretching it. No fullness should be left in either side, but 
one side should lie just like the other so that the skirt will 
hang even all around. Notice if the corresponding gores 
are the same width at the bottom. If not, make them so 
by taking up the seams of the widest. After they are all 
pinned together evenly, put in a few pins between the 
seams near the bottom so that both sides will be held firmly. 
Then trace along the basting through both thicknesses. If 
the goods will not show tracing, then pin along the basting. 
Turn the skirt over and mark across the pins, then remove 
the pins and continue the chalk line from one pin mark 
to the other across the skirt in a smooth, regular line. Run 
a basting along at the chalk mark. Turn hem and baste, 
pinning along near the bottom ahead of the basting and lay- 
ing in any little plaits necessary to make it smooth. The 
top of the hem is not turned in this fitting. Try the skirt 
on and make any changes needed in the length. Remove 
skirt running a basting where any alterations were made, if 
any. Press the bottom of the hem when correct. 

Page Eleven 



In hemming the bottom of a skirt made of heavy 
material, such as broadcloth, etc., it is difficult to turn under 
the edge at the top so it will lie flat and smooth. This may 
be finished without turning under the edge by notching 
the top of the hem when material is such that it will not 
fray, by using a narrow satin ribbon about one-half inch 
wide or a strap of good wearing silk, or mohair braid. If 
these finishings cannot be had to match the material in 
color, use black, or if the skirt is very light in color use 
white. Before putting this on the top, however, put the 
braid on at the bottom of hem. This is done in different 
ways according to the braid used, how the hem is stitched, 
etc. If no stitching is to show at the very bottom from the 
the outside, a very good way to put the braid on is to turn 
the skirt up at the bottom on the traced or marked line 
and baste it. Then, holding the outside of the skirt to- 
ward you with the bottom of the skirt up, proceed to baste 
the braid on with a loose stitch about one-half of an inch 
long and as close to the edge of the material as possible. 
If the braid is of ordinary mohair skirt braid, see that 
it is shrunken before applying it to the skirt. Baste it 
so it will extend about one-eighth of an inch below the bot- 
tom of the skirt, beginning to baste about one-half inch 
from the end of the braid, leaving that much to turn under 
as a finish. When the braid is basted nearly around the 
skirt, turn the last end over the first about one-half irvch 
and finish basting. Then, with a thread to match the 
braid, whip along the width of the braid on either side 
where the ends turn over each other, being careful to 
draw the thread tight enough to hold the braid at its 
original width. 

Now remove the basting that holds the hem, leaving 
only the one that holds the braid which has just been put 
in. Then, with the hem out and the right side of the skirt 
up, stitch along upper edge of the braid. 

Before removing the basting holding the braid, rebaste 
the hem by having the inside of skirt up so that the full- 
ness at the top can be basted in in small plaits. First baste 
near the bottom and work toward top, putting in enough 
rows to hold the hem perfectly smooth. When this is com- 

Page Twelve 



pleted, press well with a damp cloth over it, being careful 
to press until perfectly dry. If the material spots, do not 
use the damp cloth. Next measure width of hem desired, 
minus the width of the finish (ribbon, strap or braid). 

A convenient way is to cut a piece of light weight paste- 
board the desired length for a marker which must be long 
enough to include the braid that extends below skirt, as the 
hem must be measured from the bottom of the braid each 
time. When measuring, make a line at the top of marker 
with tailors' chalk and cut along the marking, if skirt is to 
be finished by notching, and stitch back from top of hem 
about a quarter of an inch to leave room for doing it ; if with 
a ribbon, strap or braid cut about a quarter of an inch above 
the marking at top of hem so as to have a line to which to 
sew the lower edge of the finish, whichever may be used, sew- 
ing it through one thickness only and then the upper edge 
through both thicknesses as this is the top of the hem. Be- 
fore putting in this last stitching put in one or more rows of 
basting around the skirt as the material requires. It is very 
essential to get an even stitching at top of hem. 

When a facing is used at the bottom of skirt, cut it 
on the true bias, or in case the skirt has considerable flare 
use a shaped facing, as such facings will fit without having 
to lay in little plaits at the upper edge. After turning a 
seam's width on the facing, before basting the skirt up on 
the bottom marking, place the turned edge of facing about 
an eighth of an inch below this marking, baste and stitch. 
Or, placing one edge of the facing and the raw edge of skirt 
below bottom marking even with each other, having the 
right sides of both facing and skirt together, make a seam 
the stitching of which should come about an eighth of an 
inch below bottom mark just as in the other method of ap- 
plying the facing. Turn the skirt back at the bottom out- 
line and baste on the braid as instructed for a skirt with a 
hem. 

Skirts and costumes in the soft, sheer materials, such 
as crepe de Chine, chiffon, voile, nettings, etc., need no braid 
at the bottom. In finishing the top of hem in such skirts 
after basting hem a ways from the bottom, measure and 
mark depth of hem, trim a seam's width above the mark, 

Page Thirteen 



turn this width back at mark and hold in place while, with 
a silk thread to match the material, gather along close to 
the folded edge with small stitches, drawing the thread just 
enough to make the hem lie flat. Pin into place along as 
the gathering is done. Then, with a basting thread, baste 
the hem in position at the top. When basting in a hem 
always place the skirt so that hem will be on a flat surface 
or so that outside of skirt will lay smooth. Be careful to 
keep the lines of fullness running straight up from the 
bottom of the skirt toward the gathered edges. Press hem 
well and put hem in by hand or stitch it. In case it is 
hemmed by hand, the turned-up portion of the hem should 
be fitted to the skirt by small plaits where necessary, in- 
stead of gathering the edge. The same care should be taken 
to make these plaits run in straight lines, as only in this 
way can a smooth hem be made. Press and slip-stitch hem, 
that is, take up only a thread or two of the skirt and slip 
the needle along inside of the folded edge of the hem; the 
stitches may be about one-fourth of an inch apart. 

DRAFTING FIVE-GORE SKIRT. 

Take the skirt measure as directed for a seven-gore 
skirt and make the seven-gore foundation lines below the 
hip line very light, as indicated by the dotted lines in Fig. 
149 accompanying this lesson. Then test the hip line to see 
if it corresponds to the hip measure, and if correct draw 
Line 16. The front gore is made one inch wider than in 
the seven-gore, so measure one inch to the left of the dot- 
ted Line 4 on hip line and draw a line parallel with Line 4 
and extend it about seven inches above the hip line. Mark 
it Line 17. Make the back gore two inches wider than in 
the seven-gore, therefore, measure two inches to the right 
of the dotted Line 12, on the hip line, and draw Line 18 
parallel with Line 12, and extend it also about seven inches 
above the hip line. (See Fig. 149.) 

Now divide the space at the hip line between Lines 
Page Fourteen 



17 and 18 equally and place 
dot Y at the midway point. 
Draw a line six or seven 
inches long up from Y and 
mark it Line 19. (See 
Fig. 149.) This line 
should be par- ^ 

allel with dot- 
ted Line 8. 



U 



FIG. 14-9 



Next, locate the waist line. Measure up on Line 19 
from dot Y, the length of the dart which in this case is six 
inches, and make point B. 

As stated in a former lesson, the difference in the skirt 
length is above the hip line. In this draft we take the same 
set of measurements as used in Lesson 7. (See Page 4 of 
that lesson.) It will be remembered the length below the 
hip line was 35 inches. 

Now, with face of square up and short arm at the left- 
hand, place A on square on B on draft and let edge of the 
square touch E, and make point G where square touches 
Line 17. Reverse the square and place A Curve on B, letting 

Page Fifteen 



the edge of square touch F and make point H where square 
touches Line 18. 

Measure up waistline in the same manner as in the 
seven-gore to see how much is to be taken out in darts, 
which will be found the same — five inches. Be sure when 
taking measurements to notice the form of each person, 
so that the darts can be made accordingly. 

Next, make the curved lines that form the top of the 
darts. This is done just as instructed for the seven-gore. 

Since in the five-gore skirt the front gore is so wide at 
the waistline it is advisable in most cases to take out a 
small dart on either side of the center, about half-way be- 
tween the center and Line 17. Make this dart one-half inch 
in width in this case. The side dart on Line 19 is made two 
and one-fourth inches wide. This will leave two and one- 
fourth inches for the darts on Lines 17 and 18. Make the 
dart on Line 18 one-fourth inch wider than the dart on Line 
17. This will make the former dart one and one-fourth 
inches wide and the latter one-inch wide. Draw the lines 
that form the darts from hip line up to points on the curves, 
according to instructions for drawing them in the seven- 
gore. Remember a little more of the dart is taken off of the 
bias edge of each gore than off of the straight edge. Draft 
inverted plait if desired and extend the draft below the hip 
line as in the seven-gore. 

FIVE-GORE FLARE SKIRT. 

About four yards is usually considered a good width 
around the bottom for a five-gore flare skirt. 

After ascertaining the amount to be added to the orig- 
inal draft to make it the desired width divide the amount 
among the gores by adding one inch to the front edge of 
the side gore, and the remainder to the other gores, accord- 
ing to instructions for adding the flare to the seven-gore 
skirt. Draw a slanting line across the gores to determine 
where flare is to begin. (See Figs. 150 and 151 of the nine 
and fifteen-gore.) Proceed as for the seven-gore flare. 
Since the five-gore has only four edges on draft upon which 
to add the flare, much more must be added to each one than 
in the seven-gore. In this case one inch is added to the 
front edge of the side gore, as just stated, and 12 inches 
to the front edge of the back gore ; two and one-half inches 

Page Sixteen 



is added to the back edge of 
the front gore, and seven and 
one-half to the back edgeSj 
of the side gore. Slopej| 
the flare off at the 
top at the point 
where the new 
lines of the 



FIG. 150 

gores join the perpendicular ones, as before instructed. 
Draw the arrowhead lines across each gore near the bottom. 
(See Figs. 150 and 151.) Trace the side gore and cut front 
and back gores according to instructions already given. 

DRAFTING NINE-GORE SKIRT. 

Make a light foundation of the seven-gore draft. After 
locating and testing the hip line, draw Line 16. (See Fig. 
150.) Proportion the gores at hip line so that they will be 
nearly the same width. The front gore may be made a 
trifle smaller than the other gores. There are two back 
gores, which, taken together, are the same width at the 
hip line as each of the other gores (as we learned in Les- 

Page Seventeen 



son 7) so when proportioning for the other gores at the 
hip line in this case, calculate the same as if there were to 
be only eight gores. This calculation may be saved, how- 
ever, by measuring one inch to the right from Line 4 on 
hip line, and from this point draw Line 17 parallel to Line 
4, and extend it six or seven inches above the hip line. 
Then measure three-fourths of an inch to the left from 
Line 12 on hip line and from this point draw Line 18 paral- 
lel to Line 12, also extend it above the hip line six or seven 
inches. 

Measure the space between Lines 17 and 18 at hip 
line and divide it into three equal parts, marking on the 
"scale of thirds." Extend Lines 17 and 18 about twelve 
inches below the hip line, and then measure the space be- 
tween their lower ends and divide it into thirds, marking 
on the "scale of thirds." Connect these points with those 
made on the hip line, and mark them Lines 19 and 20. (See 
Fig. 150.) 

Next, locate the waistline as in Lesson 7 and measure 
to see how much is to be taken out in darts, which you will 
remember was five inches. There are four darts in this 
draft, and as the darts on Lines 19 and 20 are so nearly an 
equal distance from the point where the dart length is taken, 
make these two darts equal, and their sum equal to a little 
more than one-half of the entire amount to be taken out. 
In this case they will each be one and one-half inches wide ; 
the dart on Line 17 will be seven-eighths of an inch and 
the dart on Line 18 one and one-eighth of an inch wide. 
The curves at top of Lines 17, 19, 20 and 18 are drawn 
according to instructions for drawing them in the seven- 
gore. The points on the curves and the lines that form the 
darts are also made as in the seven-gore. Always remem- 
ber when making the darts to take off a little more on the 
bias edge of each gore. In this case, one-eighth of an inch 
more is sufficient. 

Measure up the waistline outside of the darts to see 
if it is correct, then draw the waistline for each gore and 
add the inverted plait, if desired, in the same manner as 
in the seven-gore draft. Extend the lines below the hip 
line until they are the desired length, and draw the line that 
forms the bottom. 

Page Eighteen 



If from this draft a flare skirt is desired, measure the 
width around the bottom of the plain draft and add such 
an amount as will make the width from 41/2 to 4% yards, 
which is considered good for an average measure in the 
nine-gore skirt. It varies, however, as before described. 

After ascertaining the amount to be added to the orig- 
inal draft to make it the required width, count the num- 
ber of edges upon which the extra width is to be added 
and proportion accordingly. 

Make a point on Line 17 where the flare is to begin and 
from this point draw a line to a point on Line 18 where 
the flare is to extend and mark it Line 21, (See Fig. 150.) 

It is found, by estimating, that this draft must measure 
81 inches, after the flare is added, to make it 4i/^ yards 
around the entire skirt. By subtracting the width of 
this draft at the bottom, 49 inches, from the width it should 
be after the flare is added, 81 inches, it will leave the amount 
to be added in the flare, 32 inches. In this draft there are 
eight edges upon which to add the flare, or nine when the 
inverted plait is not used. 

Observing the general rule given in Lesson 7 for add- 
ing the flare to the gores and in making the new lines, begin 
with the back edge of the front gore and add 1% inches. 
Next add the flare to the front edge of the first side gore, 
making it 11^ inches, since less is added to the straight 
edges than to the bias. Now as a greater proportional in- 
crease is required on the bias edges than on the straight 
increase the bias edge in this case 21/4 inches and the 
straight edge 11/4 inches. 

To the back edge of the front gore was added 1% 
inches, and increasing this 214 inches, will make 4 inches to 
be added to the back side of the first side gore, 614 to the 
second and 81/^ to the third. To the front edge of the first 
side gore was added II/2 inches, and since the increase on 
these edges is I14 inches, it would make 2% inches to be 
added to the front edge of the second gore, 4 inches to the 
third, and 5I/4 inches to the back gore. 

Draw the arrowhead lines at the bottom of the draft 
indicating the edge of the new gores. (See Fig. 150.) Next 
trace and cut the gores. 

The gores marked with a small circle near hip lines 

Page Nineteen 



are those to be traced on other paper. Cut the others from 
the draft. The front edge of the third side gore overlaps 
the back edge of the first side gore, however, and the time 
and trouble in tracing one of these gores complete may be 
saved by simply adding a small piece of paper to one or the 
other, equal to the overlap. 

DRAFTING FIFTEEN-GORE SKIRT. 

First, a foundation of the seven-gore draft is made. 
Test the hip line to see if it is correct. Then draw Line 16, 
letting it extend six or seven inches above the hip line and 
about twelve inches below. (See Fig. 151.) 

In the many-gored skirts make the gores the same width 
at the hip line with the exception of the front gore, which 
may be made just a little wid- 
er. In this draft the hip 
measure is 40 inches. 
This is to be divided 
among the fifteen 
gores, and by divid- '>^ 
ing 40 inches 
into fifteen 




FIG. 161 



Page. Twenty 



equal parts the gores would be nearly two and three-fourths 
inches wide. Make the whole front gore three inches wide, 
but as only one-half of this gore appears on the draft, the hip 
line or Line 1, will be one and one-half inches wide. After 
measuring for this width, draw Line 17, to form the back 
edge of front gore, by first measuring down on right edge 
of paper 12 inches, and make a mark to the left of it, 2l^ 
inches, or % of an inch more than width at hip line, to give 
the proper slant and connect this mark with that on hip 
line. 

Now, measure the space on the hip line, between Lines 
16 and 17 and divide the space into seven equal parts, by 
using the scale of sevenths, as this is only one-half of the 
skirt. Also measure the space between the lower ends of 
these two lines and divide it into seven equal parts. Con- 
nect these divisions with the corresponding ones on the hip 
line, and mark them Lines 18, 19, 20, 21, 22 and 23, respect- 
ively, extending them five or six inches above the hip line. 
(See Fig. 151.) 

Locate the dart length on Line 8, and from this locate 
the waistline on the other lines, according to instructions 
already given. Then measure waistline preparatory to 
taking out darts, which will be found the same as in the 
other drafts by these measure — five inches. In this draft 
the darts are to be taken out on Lines 17, 18, 19, 20, 21, 22 
and 23 — seven in all. As a rule, take out the most on the 
sides and the least in front. It will depend on the form of the 
person. In this instance, take out less than one-half of 
the entire amount — five inches — on Lines 20 and 21. The 
darts on these lines are each made one and one-eighth inches 
wide. This leaves two and three-fourths inches to be 
taken out in the other five darts. Decrease three-eighths of 
an inch on the darts on Lines 19 and 22 ; those on Lines 18 
and 23 one-fourth of an inch less than those on Lines 19 
and 22 and the one on Line 17 one-eighth of an inch less than 
those on Lines 18 and 23. That is, the darts on Lines 20 
and 21 will each be one and one-eighth inches in width; 
those on Lines 19 and 22 will each be three-fourths of an 
inch ; those on Lines 18 and 23 will each be one-half of an 
inch, and the one on Line 17 will be one-fourth of an inch 
in width. Draw the curved lines at top of these lines, as 

Page Twenty-One 



already given in the seven-gore draft. With square in left 
hand, place thumb nail on mark indicating amount to be 
taken out in each dart, and place this space at the middle of 
the curved line, or on top of Lines 17, 18, 19, 20, 21, 22 and 
23, respectively, and then let the square slip forward far 
enough to take a little more of the dart out on the bias edge 
than on the straight edge of gore. The difference w^ill be 
much less, of course, in the many gored skirts than in the 
few gored. One-eighth of an inch difference is made in this 
draft. Before drawing the lines that form the curves, al- 
ways test the waist measure to see that it is correct. After 
these lines are drawn, then draw the lines that form the top 
of the gores or waistline. 

This completes the upper part of draft with the excep- 
tion of the inverted plait, which is drafted the same as in 
the seven-gore. 

If a flare skirt is desired from this model, begin in the 
same way as instructed in the seven-gored flare skirt except 
make the estimate for about five and one-half yards. 

Draw the line to which to extend the flare which is in- 
dicated by Line 24. (See Fig. 151.) 

It is found by estimating that 50 inches must be added 
to the draft to make the skirt five and one-half yards when 
finished. 

Observing the rules already given. One inch is added 
in this instance to the back edge of the front gore and the 
proportional increase on the back of each gore is one inch. 
Add three-fourths of an inch in this case, to the front edge 
of the first side gore and make the proportional increase 
also three-fourths of an inch. That is, on the back edges 
add one inch to the front gore, two inches to the first side 
gore, three inches to the second side gore, four inches to 
the third, five inches to the fourth, and so on. 

Next, add the flare to the front edges of all the gores ; 
three-fourths of an inch to the front edge of the first side 
gore, as stated, one and one-half inches to the second side 
gore, two and one-fourth inches to the third, and so on. 
As soon as the amount of flare is marked, then draw the 
line indicating the new edge of each gore, according to in- 
structions given for the seven-gore flare. 

If there is to be no inverted plait, draw Line 24 from 

Page Twenty-Two 



the same point on Line 17, but extend it to the hip line on 
Line 16, and add the flare on the left side of Line 16, with 
the same increase as the others. The amount added to the 
first two edges, however, must necessarily be less, as there 
will be one more edge to which the flare must be added than 
when the plait is used. The illustration accompanying this 
lesson shows skirt with inverted plait added to the back 
gore; therefore in this case add the flare only on the front 
edge of the back gore. 

Draw the arrowhead lines indicating the edges of the 
new gores as instructed. 

The next step is to trace and cut the different gores 
apart. Part of them may be cut from this draft, while 
others must first be traced and then cut, as the lower edges 
in some of the gores overlap. (See Fig. 151.) The gores 
marked with a small circle near the hip line are the ones 
to be traced on to another piece of paper in order to have 
them separate. 

GENERAL INSTRUCTIONS FOR ADDING FLARE TO 

SKIRTS. 

No set rule can be given for adding the flare to skirts, 
since it varies so much. As has been stated before, the 
short skirt requires less flare than the long length, and a 
stout figure less than a slender one. It varies also, accord- 
ing to the prevailing style and taste of the person for whom 
the skirt is made. 

To make a skirt of many gores the same width around 
the bottom as one with a few gores, it will be necessary to 
add less flare to each edge of the many gored, since there 
are more edges to which to add it. 

To repeat, in adding the flare the first thing to con- 
sider is the desired width of the skirt when finished, then 
measure the bottom of the extended plain draft, and sub- 
tract this amount from one-half of the width when finished 
and the difference will be the amount to be added to the 
draft. Always add more to the bias edge of the gores than 
the straight, increasing the flare of each gore as you ap- 
proach the back; with this in mind, count the number of 
edges to which the flare is to be added and proportion ac- 

Page Twenty-Three 



cordingly so that the sum added to all the edges will be 
equal to the amount left after subtracting the width of the 
plain draft at the bottom from the width of one-half the 
skirt when finished. 

You have been given instructions with the exact 
amounts to be added to each edge of the gores in the seven, 
five, nine and fifteen gore skirts in order to make them a 
, ^ven width around the bottom when finished and with this 
as a basis one should be able to make a draft for any width 
desired. 

You will note that in the seven-gore flare we have taken 
for example a skirt which measures four and one-third 
yards, in the five-gore one measuring four yards, in the 
nine-gore four and one-half yards and in the fifteen-gore 
five and one-half yards. In the seven-gore there are six 
edges to which to add the flare, in the five-gore only four 
edges, in the nine-gore eight edges and in the fifteen four- 
teen edges, when using the inverted plait as shown in the 
skirt draft illustrations. Then, since the width around the 
bottom and the number of edges both vary, it can readily 
be seen that the flare added to the gores could not be the 
same in any two of them. 

When one wishes the width around the bottom of skirt 
greater in any than those given in the lessons, begin by 
adding a trifle more to both the bias and straight edges and 
let the proportional increase on each be greater. Or, on the 
other hand, if one wishes a skirt that measures less, begin 
by adding a trifle less to both the bias and straight edges, 
letting the proportional increase on each be less, also. 

For example, in the instructions for the nine-gore flare 
we have taken one which measures four and one-half yards 
around when finished. If one wishes a skirt that measures 
five yards, or one hundred and eighty inches, one-half of 
the finished skirt would measure ninety inches. Then by 
subtracting the width of the plain draft (in this case forty- 
nine inches) from this width, it will leave the amount to 
be added in flare, or forty-one inches. In the instruc- 
tions for the nine-gore flare one and three-fourths inches 
was added to the back edge of the front gore, and this 

Page Twenty-Four 



was increased on each corresponding edge as we ap- 
proached the back, by two and one-fourth inches; and to 
the front edge of the first side gore we added one and one- 
half inches and increased each of these corresponding 
edges one and one-fourth inches, as we approached the 
back, so in this one which we wish to measure five yards, 
or half a yard more, add two inches to the back edge of 
front gore and let the increase on the corresponding edges 
be two and one-half inches, then on the front edge of the 
first side gore add one and three-fourths inches and make 
the increase on the corresponding edges one and one-half 
inches, which will make thirty-nine inches added to the 
eight edges, which is about as near forty-one inches as we 
can figure it in giving a regular proportion. The addi- 
tion to the front edges will be as follows, 1%, 314, 4% 
and 6 14, and on the back edges of the gores 2, 4|/2» 7 and 
dYz inches. 

Then for a nine-gore flare skirt, measurmg only four 
yards, decrease in the same proportion. 

These same instructions may be followed out in mak- 
ing a draft for a flare skirt of any number of gores in- 
creasing or decreasing the amount added to edges of the 
gores, also making the increase on the corresponding 
edges greater or less according to the width desired, using 
as the basis the examples given in the lessons and bearing 
in mind the variation mentioned in the beginning of this 
article. 



Page Twenty-Five 



QUESTIONS. 

1. (a) How should the seams be stitched? (b) Give 
the next step after stitching and explain how the pressing 
is done. 

2. How may the seams be finished? 

3. (a) Explain fully one way of finishing the placket 
in tailored skirts, (b) In light weight or wash goods with- 
out a fly. (c) Tell how to mark for the hooks and eyes on 
the edges of the placket. 

4. Explain how mohair braid is applied. 

5. How is a skirt finished with a hem? 

6. Tell how a facing is cut and applied. 

7. (a) Explain how to proportion the gores in drafting 
a five-gore skirt, (b) How and where are the darts taken 
out? (c) How many edges are there to which to add the 
flare, when the inverted plait is used? 

8. (a) Explain how the gores are proportioned in a 
nine-gore skirt, (b) Tell how and where the darts are 
taken out. (c) What is considered a good average width 
around the bottom for a nine-gore flare skirt? 

9. (a) How are the gores proportioned in a fifteen- 
gore skirt? (b) Explain how and where the darts are taken 
out. 

10. (a) Why can no set rule be given for adding the 
flare to skirts? (b) When width around bottom of skirt is 
desired greater than examples given in the lessons, what 
will be necessary? (c) When less? 

Page Twenty-Six 



Measurement Record Book 

For American System Dressmakers 

In response to an increasing demand among dreis> 
makers generally for some handy means of keeping a 
permanent record of patrons and their measurements, 
orders, etc., the American College of Dressmaking 
has just issued a new book 7x16 inches, bound in 
heavy manilla. This book has spaces for record of 
320 customers with blanks for the Date, Name, Ad- 
dress, Time to be Finished. Price, Complete Waist 
Measures, Complete Sleeve Measures, Complete Skirt 
Measures, and a space for Remarks in which to note 
the peculiarities of form of the customer. 

This is a complete history which should enable you 
to solicit orders from customers even after they move 
away from your neighborhood. Many of our graduates 
have done this and secured a (it without ever trying 
the NEW garments on their FORMER customers. 

These books sell to dressmakers for 50c a copy but 
we are offering them at a 20% discount to our students 
and graduates. Add 40c to the next payment on your 
course, or send 40c in stamps, and ask us to send you 
this book and we will send a copy for examination. If 
you don't lind it the best of its kind for the purpose, 
send it back and we will immediately refund your 
money. The price to you is only 40c. 

AMERICAN COLLEGE OF 
DRESSMAKING 

KANSAS CITY. . . MISSOURI 



THE 

AMERICAN SYSTEM 

OF DRESSMAKING 



A Course of 

Instruction by Mail 

in the 

Science and Art 

of 

Successful 

Dressmaking 

And Ladies' Tailoring 



Lesson No. 9 



The American College of Dressmaking 

(Associated Training Schools, Proprietors.) 

KANSAS CITY, MO., U. S. A. 



Copyrighted 1906, 1907, 1908 and 1909 
hyJ.M.Stelle 

Copyrighted 1910 and 1911 
h^ Associated Training Schools 



Jill rights reserved. 



T^rinted in the United States. 



Ci)e 



American s>|>0tem 
ofBre00mafemj 

TAUGHT ONLY BY THE 

aimertcan College of Bressmafetns 

Miss Pearl Merwin, Supervisor. 

Lesson No. 9 

HOW TO FINISH A DROP OR FOUNDATION SKIRT. 

A drop or foundation skirt may be made of taffeta, 
percaline, nearsilk, or any like substance, and the seven- 
gore skirt is ordinarily used. The seams in a drop skirt are 
usually finished w^ith a French seam as the material is light 
in weight, as a rule. When they are finished in this way, 
baste the skirt so that the seams will come on the right side 
or outside of the skirt, and fit the skirt in the same way. 
This will make the fitting convenient as the seams can be so 
easily altered. When the fitting is completed, take skirt off 
and baste in the alterations as marked. Stitch skirt by 
making the stitching as far from the basting toward the 
edge of the seam as the French seam is to be, then trim 
seam evenly, close to machine stitching, take out the bast- 
ings, turn the seam on the wrong side, crease the edge and 
take off another seam just wide enough to make this sec- 
ond stitching in exactly the same place as skirt was fitted. 

Finish top of skirt, and if a foot ruffle is desired turn 
the bottom in the ordinary way and after making this bot- 
tom line measure up from this line just one inch and cut 
off along this mark, then cut the foot ruffle two and one- 
fourth inches wide, which by the time it is hemmed and 
French seamed on to the skirt will make up the inch that 

Page Three 



was cut off the skirt length. Make this foot ruffle about 
once and a half the distance around the skirt and cut either 
on the straight or bias. If a braid is desired on it, which 
will make it wear much better, shrink the braid and put 
it on. It is not necessary to baste it. After sewing the 
ends of the foot ruffle together, place it along the braid 
on the machine, turning under a narrow edge of the ruffle 
about one-fourth of an inch from its edges and stitch, 
turning the ends of the braid over each other as in- 
structed in applying braid to the bottom of outside skirts. 
Turn the work and stitch upper edge of braid. Cut this 
ruffle a trifle narrower when a braid is used than when 
hemmed. Divide the distance around the bottom of skirt 
from center of the back into quarters; also divide the 
ruffle in the same way, and mark. Commence in the back 
of skirt to gather on the ruffle, placing the quarter mark 
in each together and in the process of gathering on the 
ruffle see to it that these marks come together and that 
the seams of each face each other. That is, place the 
ruffle on the skirt so that the inside of each will come 
together. If one has a ruffler it can be sewed on and 
gathered at the same time, being careful to keep the edge 
of the ruffle exactly even with the edge of the bottom of 
skirt and make the seam straight in order to keep the 
skirt perfectly even. Finish the French seam as in- 
structed, except instead of taking half of the second seam 
off of both the ruffle and skirt, take all of it off the skirt, 
as it will keep the gathers more even and make a neater 
finish; thus the stitching should come close up to the 
turned edge just outside of where the first seam stitching 
came. 

If a graduated flounce is desired, cut the ruffles and 
make the flounce and apply to the skirt. Ruffles 
set better if cut on the bias. Mark the skirt in 
the front where the top of the flounce will come and also 
in the back and measure the skirt around at these points 
and make a ruffle about once and a half this width, and 
the second ruffle about once and a half the length of the 
first, etc., cutting the widths that compose these ruffles 
wider as they approach the back of the skirt. If it is found 
that the first or top ruffle requires five widths of material 

Page Four 



to make a flounce twelve inches in front and eighteen 
inches in the back composed of three ruffles, for the top 
ruffle cut one width four inches, two widths five inches 
and two widths six inches. Sew together by sewing one of 
the five-inch widths on either side of the four-inch width, 
then a six-inch width on each of the other five-inch widths 
and "circle." That is, make a circle by sewing the ends to- 
gether, being careful that the extra inch in each case will 
come on the same edge of the ruffle. Begin where this 
extra inch projects along the edge and trim by sloping it 
off gradually. Place a mark at the center of the four-inch 
width which is to come in the center of the front, and 
divide in quarters and mark. Make eight widths in the 
second ruffle — three widths four inches wide, two widths 
five inches wide, and three widths six inches wide. Make 
ruffle by sewing the three four-inch widths together, then 
one of the five-inch widths on either end of this length, 
and one of the six-inch widths on each of the five-inch 
widths, observing that the extra width comes on same 
edge, circle and trim as before. Place a mark at center of 
the middle four-inch width and quarter. Make the third or 
bottom ruffle in the same way, allowing for it eleven widths 
— four widths four inches wide, four widths five inches 
wide and three widths six inches wide, and place a mark 
at the center of the narrowest space, which will come on 
a seam this time as an even number of widths will come 
on either side of the front. The number of the widths 
may vary according to the fullness desired, as well as the 
number of ruffles in a flounce and their depth. 

The quantity of material required for a flounce will, 
of course, vary according to the width of the material used. 
The flounce may be put together by hemming the bottom 
and top of each and gathering the top edge of one on to the 
bottom edge of the one above it, leaving a little heading 
above the gathering, from one-half to three-eighths of an 
inch. These can be gathered and sewed on by one stitch- 
ing if a ruffler is used and thus much time be saved. Start 
the gathering by beginning in the back of each and see to 
it that the quarter marks come out together. If a braid is 
used on the bottom ruffle of the flounce, as is quite desir- 
able, do not hem its lower edge but apply braid as for foot 

Page Five 



ruffle. Instead of the heading at top of ruffles they may 
be French-seamed together. When the flounce is made, 
gather it on the skirt, beginning at the back of each, hav- 
ing the lower edge of the flounce come even with the bottom 
of the skirt. Cover the edge where it joins on to the skirt 
with ribbon binding or a narrow facing of the same ma- 
terial. Or the top edge of the flounce may be hemmed and 
gathered on with a heading. 

The skirt may also be . finished with an accordion- 
plaited flounce, which may be any prescribed depth. If 
accordion-plaiting is used and one does not have a plaiter, 
it will have to be sent out to be plaited. If one makes it 
herself cut the goods crosswise, the depth the plaiting is to 
be, sew the pieces together and press the seams open. It 
will require about three and one-half times the length where 
the plaiting is to be applied to the skirt. Be sure and have 
the plaiting an even depth all the way. Hem both edges. 
Where one wishes the plaiting to stand out and ripple at the 
bottom, do not hem this edge until the plaiting has been 
done. The lower edge may be left plain or it may be fin- 
ished with a narrow ruching about three-fourths of an inch 
wide, made of the same material as the flounce. Cut the 
ruching on the true bias and either hem both edges or fray 
them out; gather it in the center and stitch to the bottom 
of the plaiting at the gathering thread. After plaiting 
the flounce, join it to the skirt, holding the lower edge of the 
flounce even with the bottom of the skirt while stitching it 
on ; cover the edge where it joins on to the skirt with ribbon 
binding, or with a narrow strap of silk. 

As much care should be exercised in the fitting and 
making of these foundation skirts as the outside ones. 

WALKING SKIRTS. 
A walking skirt should clear the floor about two inches. 
The measures are taken just as instructed in Lesson 7 and 
then take off an equal amount from each measure. The 
skirt will then hang even all around. Cut, baste, flt and 
stitch as previously instructed. 

The method of finishing the bottom of these skirts 
varies according to the prevailing style, but so long as the 

Page Six 




stitched bottom is in vogue from time to time instructions 
will be given for it here. 

If the bottom of the skirt is to be stitched with several 
rows of stitching (see Fig. 152) place an inner facing of 
shrunken tailors' canvas on the wrong side of the skirt 
between it and 
the facing or hem 
of skirt. Cut 
the canvas on the 
true bias from 
two and one-half 
to three inches 
wide, depending 
on the width of 
the hem wished 
and when shrink- 
ing it stretch one 
edge slightly so 

as it will curve to fit' the bottom outline of skirt. One can 
tell just how much by placing it on the skirt before wet- 
ting canvas. To shape the canvas, wet ahead of the iron 
with a cloth and after placing the iron upon it stretch the 
lower edge a trifle with the left hand, holding forefinger 
and thumb on top and the other fingers underneath, slip- 
ping the hand along as it is shrunken. After shaping the 
bottom a short space pass the iron to the right and shrink in 
the top of strip. This inner facing should be basted around 
the skirt to hold it in place while the hem is turned or the 
facing put on (see long V-shaped basting. Fig. 152). Then 
put on the outer facing, beginning by basting it a little less 
than one-fourth of an inch from the bottom of the skirt 
without turning the edge as it will be concealed by the 
braid which will be stitched over it, and continue putting 
rows of basting about three-fourths of an inch apart until 
almost to the top of facing. (See Fig. 152.) Turn the edge 
of the outer facing over the top inner facing and baste to 
hold in place or this edge may be bound. If a braid is to be 
used, adjust it next. If the material is heavy and brush 
braid is used, baste it into position by holding outside of 
skirt to you and letting braid come below bottom of skirt 
nearly a quarter of an inch, and proceed to stitch as directed 

Page Seven 



in the next paragraph. If brush braid is not worn, 
mohair braid may be used on heavy materials and 
its durability will be greatly increased by dou- 
bling that part of the braid which comes next to the 
bottom. It should be thoroughly shrunken before using 
it. Put the braid in water and squeeze it as dry as possible 
and then press. The ordinary mohair skirt braid is two- 
thirds of an inch wide. Turn over the edge of the braid 
next to you so that it will come within one-third of an inch 
from the other edge, holding the end of the braid with the 
flat iron, and when folded as described, press into position, 
being careful that it is pressed perfectly dry or it will not 
be shrunken the same and will be wider in some places than 
in others. 

Usually the stitching is a little over a quarter of 
an inch apart. Be careful to have an easy tension on the 
machine so that the stitching will not draw. A gauge or 
quilter fastened to the needle bar will assist in keeping the 
stitching even. Before proceeding to stitch, place the braid 
so the edge which was folded back will come next to the fac- 
ing and so that the double portion will come next to the bot- 
tom and about one-eighth of an inch below, and hold in this 
position a little way ahead of the presser foot, and stitch 
along edge of skirt. When nearly to the other end of the 
braid on the skirt, double the last end of the braid back about 
one-half inch for a finish. The ends of the braid will flare if 
not held in position, so before making the second row of 
stitching, hold the braid together so it will be the same width 
at the ends as elsewhere, and baste. Proceed with the 
stitching to the top of facing. 

When the stitched bottom is not in vogue, which is the 
case just at present, and a simple finish is desired, follow 
the instructions as given in Lesson 8 for finishing bottom 
of skirts of heavy material. 

If the brush braid is in use, proceed in the same manner 
as in basting on mohair braid following instructions re- 
ferred to above, holding the braid so that it will extend near- 
ly a quarter of an inch below the bottom of the skirt. The 
basting will thus extend through the brush part only, which 
will, however, be sufficient to hold it in place until stitched. 
Just before the end of the braid first basted on is reached. 

Page Eight 



fold this last end under about one-half inch to cover end 
already basted on. Use a thread to match the braid to whip 
this turned edge down. Now remove the basting that holds 
the hem, leaving only the one that holds the braid which 
has just been put in. Then, with the hem out and the right 
side of the skirt up, stitch along both upper and lower edges 
of the braid, stitching the latter far enough in to stitch 
on the solid part. If you wish to make an outside belt of 
the same material, cut it on the straight of the goods, about 
one and one-half inches wide. Cut an interlining of light 
weight canvas about one inch wide on the half bias, which 
is half-way between the true bias and straight of material, 
and baste center of this strip to center of outside strip. 
Turn the edges over interlining, stitch and then press. Face 
it with a piece of lining, sewing the facing on by hand. 
The belt may be made either long enough to just meet or to 
lap in front. In the latter case make it about three inches 
longer than the original waist measure, and make the ends 
pointed. 

THE HIGH OR RAISED WAISTLINE SKIRT. 

At present this type of skirt is much in favor and as it 
returns from time to time its construction should be thor- 
oughly understood. It is an excellent style as a separate 
skirt or as a part of a semi-princess costume by joining it 
to a waist of the same fabric. Or where the skirt is made 
to form part of a complete costume the waist may be of 
lighter texture and does not necessarily need to be the exact 
color of the skirt, but only so that the shades harmonize. 
For instance, broadcloth in the darker shades of green, 
with a waist of net or silk in lighter tone, and a touch of 
the broadcloth used about the waist, would be most effective 
and give to the costume the stamp of unity. 

These skirts are made in any number of gores and 
vary in model, neither are they limited as to the material 
of which they are made. Also, they may be developed as a 
dressy garment with the medium sweep length or for a gen- 
eral wear skirt in the clearing length. Ordinarily, these 
skirts are plain at the top, but may be either tucked or 
gathered. In such case, however, the material should be 
soft and clinging. Many materials may be suggested such 
as crepe de Chine, messaline, voiles in both silk and cotton 

Page Nine 



and the thin wash materials — lawns, Swisses and organdies. 

Either the high or raised waistline suppresses the 
"hour-glass curve" of the figure, straightening and length- 
ening the lines, making the hips appear smaller. 

At present the skirt extends to what would be the top 
of a belt of ordinary width — from an inch and a half to 
two inches. This style of skirt adds a trim appearance to the 
waist which is no doubt responsible for its wide popularity. 
The fitting at the waistline is different from the ordinary 
skirt, but is quite as easy. It is not fitted in closely to the 
figure, but just enough to define its curve without empha- 
sizing it. 

No risk is taken in adopting this skirt for it is cut in 
such a way that it may be changed to the normal waistline 
in a very short time, if one tires of it. As a rule it forms 
its own belt, which is another feature to recommend it. 

For the pattern, extend a plain skirt draft of any 
number of gores one wishes and as far above the normal 
waistline as desired, after first taking the measure around 
the body at the place skirt is to terminate and make the 
gores at the top of the required width. For instance, say a 
skirt is to be two inches above the regulation waistline 
and the measure is found to be two inches larger than the 
waist measure, then the gores must be increased at the top 
on the draft so that their sum will be one inch more than at 
the normal waistline, (as it represents half of the skirt pat- 
tern), and 
draw the 
dart lines on 
the same re- 
verse slant 
as below 
w a i s tline. 
(See Fig. 
15 3.) As 
has just 
been said, 
since the 
skirt is not 
fitted in 
closely, d o * '^' 

Page Ten 




not use the original dart lines but those with less curve, as 
shown by the dotted lines in Fig. 153. 

Cut and baste the skirt in the usual way, allowing a 
little extra on the edges above the natural waistline and at 
top in case you have any doubt about the measure taken 
above waistline or in case the customer decides to have 
skirt a trifle higher than she first thought. 

An inside belt is used to hold the skirt in place. This 
may be made of the wide belting, which can be purchased at 
the notion counter in almost any dry goods store and great- 
ly facilitates the work. The belt is very important as it 
has a great deal to do with the set of the skirt. It is fitted 
by means of a dart on either side, these darts being taken 
in at top of belt, according to the form and tapering off to 
nothing at the bottom or waistline. In trying the belt 
on, notice particularly whether it takes a good line on the 
figure. It should slope downward a trifle in front and 
should fit snugly, so that it will not let the skirt sag at the 
back. Most of the belting is firm enough so that it does not 
require boning, but if needed, bone at center front, at each 
side under the arms and one end of the belt. 

If, however, one cannot obtain the belting, canvas 
may be substituted, which should be of good quality and 
well shrunken. Cut a strip on the straight about three 
inches wide and about one-half inch longer than the waist 
measure, wet thoroughly, and press with a hot iron. Also 
cut a piece of lining the same width about three inches 
longer than the waist measure to allow for covering the 
hooks and eyes. 

Now, take up a small dart on each side of each strip, 
at a point which would come directly under the arm, 
basting them in one strip and making exactly the same in 
the other, letting the extra length in the lining come at the 
ends. The darts must be so placed as to fit the curve of 
the figure. When they do this, stitch and trim darts, press 
their edges in opposite directions in the two strips, turn 
their edges under so that the finished width is two inches. 
After fitting the belt snugly to get the exact length, and 
boning, if desired, stitch the strips together with edges even, 

Page Eleven 



Turn 
neces- 





having the wrong sides or darts facing in each. 

under the ends of the canvas or trim off some if 

sary. Sew on the 

hooks and eyes very 

firm and cover. (See 

Fig. 154.) If one 

prefers, the belt may ^^s. 154. 

be made of two strips of canvas, quilted together after 

stitching the darts in and then cutting the exact width 

and length desired, then lined and bound with silk or lining 

the same shade as the material used. 

The skirt will have to be basted to the belt temporarily 
before fitting the skirt, so turn under the upper edge of the 
skirt at the markstitching indicating the top, clipping 
enough to make lie flat, and baste to the belt with the turned 

under edge just slightly above 
the edge of the belt. The skirt 
may open either in the back or 
front. A favorite style in this 
kind of a skirt is one with a pan- 
el in both front and back as 
shown in Fig. 155, which may be 
made with habit back or invert- 
ed plait. The seams on either 
side of the panels may be the 
tucked or welt seam, preferably 
the former. Also, by some, the 
habit back or front closing is 
preferred. If the skirt opens at 
Fig:. 155. the side front, make the belt fas- 

ten at the center front. If it opens at the side back, the 
belt should be fastened at the center back. 

The top of the skirt should fit the belt exactly — neither 
easy or tight. Below its upper edge the skirt should curve 
in slightly to the figure at the normal waistline, as before 
stated, but should not be fitted closely to the figure. It 
should fit over the hips smoothly but not snugly, and below 
the hips it falls in straight lines to the bottom. 

After making any slight changes found necessary, take 
off the skirt, remove the belt, basting in alterations and 

Page Twelve 




proceeding to finish as previously instructed. The skirt is 
as a matter of fact fastened to the top of belt only. If 
no stitching is to show at top of skirt on the outside, then 
fell the upper edge of the belt to the skirt about an eighth of 
an inch from the top. 

For a high waistline skirt a boned bodice stay or inner 
girdle should be made which supports the skirt for, of 
course, no belt would hold it in place no matter how tight it 
was made, since the figure grows smaller below the high 
waistline, the skirt would slip down into a normal position. 

Cut the bodice stay from a fine quality of satin or lining 
silk to match the color of your skirt, or if skirt is dark, it 
may be made of black ; if light in color, of white or from a 
good grade of drilling. Use the bottom part of the tight-fit- 
ting waist draft for a pattern, fit 
and bone also finish opening as 
instructed for waist lining. The 
bones should reach from three- 
fourths of an inch from the top 
edge of the stay to within the 
same distance from the bottom 
edge. The upper and lower edges 
are bound with a bias strip of 
the material of which it is made. 

If the skirt is to have an 
outside girdle or a plain belt as 
shown in Fig. 156 then baste 
skirt as far from top of bodice 
stay as width of outside girdle or 
belt is to be. (See Fig. 156.) ^^^' *««• 




SKIRT YOKES. 

The circular yoke pattern is cut by placing the gores of 
a plain skirt draft with their edges touching at the waist 
and hip lines, letting the edges between overlap a trifle. 
The lower edge of the yoke may be shaped as one wishes. 
See solid lines in Fig. 157 for one with a point in front, side 
and back and the dotted lines represent one with a gradual 
curve at the lower edge. The broken lines indicate the upper 

Page Thirteen 




part of a seven-gore skirt draft. A circular 
yoke without darts must necessarily be shallow 
as shown here in the 
pointed and round one, 
in order to be close fit- 
ting at the bottom 
as well as the top. 
To cut, place 
center front on / 
a s t r a i g h t/' 
1 e n g t h w ise 
fold of mate- 
rial. 

Fig. 157. 

To make a pattern for a deep circular yoke such as 
shown in Fig. 158 take the plain nine- 
gore draft, since it has darts just where 
they are needed in this yoke, namely, on 
either side of the hip, and in these darts 
add the width of the front and back dart, 
if the form will admit of it; if not, part of 
the width may be taken 
off at the back edge as 
shown in Fig. 159 or if 
the inverted plait 
is used, simply 
turn under the 
line marking the 
back 
edge of 
back 
gore. 

Another 
way to 
d i s pose 
of the ex- 
tra full- 
n e s s at 
waist- *'»«• *««• 




Pa^e Fourteen 



line instead of taking it out in darts is to take it up in small 
tucks about one-eighth of an inch deep at waist tapering 
them off to nothing. Extend them only as far as necessary 
to give the desired fit. Make them uneven in number and 
so that the group will come directly at the side. Also, as 
in the case with the darts, the tucks should be farther apart 
at their termination than at the waistline. Cut this yoke 
the same as the one just described. The broken lines in 
the illustration representing drafted pattern show the posi- 
tion of Lines 19 and 20 in nine-gore draft. 

The three-piece yoke as shown in Fig. 159 is cut by a 
seven-gore draft, the width of the front and back darts be- 
ing taken out in the side dart and from back edge. For 
a close-fitting yoke from fifteen to sixteen inches below the 
hip line, say, take off about an inch and a half on either 
side of Line 8. The dotted lines show position of Line 8 
and inverted plait in seven-gore draft. 
Cut by placing Line 1 on a straight 
lengthwise fold of material, also Line 3 
on a selvage edge. This will make 
Lines 2 and 4 on the bias. 

The inverted plait may or may not 
be used in any of the 
yokes, depending upon 
the style of the skirt /'^^\ 

of which it is a part. 

THE PEPLUM. 
P e p 1 u m pat- 
terns are made 
much the 
same as 
skirt yokes. / 
In some / 
cases the 
p e p 1 u m 
opens in the 
back as well 
as the front. 
They are 
used on 
coats, dressing sacks and corset covers. The drafting, 

Page Fifteen 




cutting and making of the peplum or skirt portion of the 
Russian Blouse coat will be explained in a later lesson. For 
the circular peplum without darts, make pattern as for cir- 
cular skirt yoke. If there is to be no opening in the back, cut 
by placing back edge on a straight lengthwise fold of the 
material. If there is an opening or seam at the back, as 
well as opening in the front, it may be cut by placing front 
and back edges together, creasing pattern at the side and 
then unfolding and pinning on the material so that this 
crease will come on the straight, or it may be cut by placing 
back edge on selvage edges. They may be cut any shape 
desired at the bottom, just as in the skirt yokes. Also, some 
are left with square corners at the lower edge of opening, 
some rounded slightly, while others begin two or three 
inches back from the center of opening and curve up grad- 
ually to the waistline. Unlike the circular yokes without a 
dart, this style of peplum may be cut any length desired, in 
fact, if you wish it to ripple, cut so that it will extend below 
hip line. 

For the deep circular peplum with two darts on either 
side, make pattern the same as for a yoke of this style and 
cut as instructed in the last paragraph. 

For the peplum with a seam at the side, make the 
pattern and cut the same as for the three-piece yoke, except 
to place Line 1 on selvage edges instead of a fold of the 
goods. 

If one wishes a peplum to ripple at the bottom, place 
waist and hip lines together as described for the cir- 
cular yoke and peplum. Or if this makes more ripple than 
is desired, place the gores together at hip line letting them 
stand apart at the waistline according to ripple wished 
and take up the fullness at waistline either in darts or 
gathers. 

For a peplum with tucks or fullness, in cutting place 
pattern as far from the edge or fold of material as will 
make the required allowance for same. 

SIDE-PLAITED SKIRTS. 
Under this head may be included skirts plaited in clus- 
ters and those of single plaits with an equal space between 
them. These skirts, if properly constructed, present a very 

Page Sixteen 



charming appearance and it is very imperative that their 
construction be thoroughly understood. 

For a plaited skirt with an equal space between the 
plaits, to insure the proper slant to the edges of the plaits, 
as well as an economy of goods, draft a pattern for a many- 
gored skirt. Make as many gores as will make the plaits 
on hip line the desired width and distance apart and allow 
half the depth of the plait on either edge of the gores — 
two inches at the hip line sloping off to five inches at the 
bottom makes a good plait. Take, for example, the fifteen- 
gore draft (Fig. 151) and for a side-plaited skirt with 
the same distance between the plaits (with the exception of 
the two in front, where the distance in this case will be a 
trifle greater), draft a pattrn just the same as for the plain 
gored skirt allowing one-half of the width of the plait on 
either edge of the gores, as the other half will be added 
on the edge which joins it. For instance, if the plait is 
to be two inches at the hip line and five inches at the bottom, 
make a point one inch on either side of the gore at the hip 
line and two and one-half inches on either side of it at the 
bottom and connect the corresponding points at the hip line 
and the bottom and these new lines will be the edges of the 
new gores, below the hip line. Then from the ends of the 
new lines, draw the curves for the darts making them par- 
allel to the original curves and as far from them as the 
new lines at hip line, or one inch in this case. If the plaits 
are to turn toward the front cut the new gores just made by 
placing them on the material in the same way as instructed 
for cutting the plain gored skirt. Mark the edges of the 
new gores on the wrong side of the- material, and make the 
allowance for seams outside of these marks; also mark the 
edges of the original gores, which were the edges before the 
allowance for the plait was made, as these marks will give 
the line upon which the skirt is to be basted. 

The rule to observe in cutting a plaited skirt is to have 
the outside edge of the plaits as nearly as practical on the 
straight of the goods, as the straighter they are the better 
they will hang to begin with and the longer they will stay 
in without repressing. For instance, if there is to be a 
seam in the center front and one wishes the plaits to turn 
toward the back, do not cut the gores as instructed in Les- 

Page Seventeen 



son 7 but with the back edges of all on the straight of the 
goods. Then in drafting the pattern for this skirt since it 
is the rule to take out the dart so that a little more of its 
width will be taken off of the bias side than off the straight, 
remember to take more off of the left-hand side of the 
straight line above the hip line instead of from the right- 
hand side, as shown in Fig. 137. 

If a skirt with fewer seams is desired and still with 
about an equal distance between the plaits, select the nine- 
gore draft and divide the side gores into two equal parts 
lengthwise by a dotted line. (See Fig. 160.) Then allow, on 
either edge of the gores, one-half of the width of the plait 
at the hip line and bottom outline of skirt just as before, 
but an allowance for an entire plait must be made at the 
dotted line to which was just referred, as this dotted line 
represents the edge of the plait. 

To make these allowances cut along the edges of the 
original side gores of the nine-gore draft, in this case, and 
also cut along the dotted line dividing the gores lengthwise 
into two equal parts. Now place these parts in their cor- 
rect position just as far apart at the hip line and at the bot- 
tom as the plait is to be at these points. By way of illus- 
tration, to make the plait at hip line two inches and at the 
bottom five inches, place the edges representing the 
center of the gore two inches apart at hip line and five 
inches apart at bottom line, and pin in position, trace along 
the four edges — two inner and two outer edges and then 
mark the allowances on the two outer edges for the plaits 
as instructed, and connect the corresponding points at hip 
line and bottom and cut pattern along the new lines. The 
front gore will be cut as in the plain gore skirt, except the 
allowance for plaits is made on its edge only. Also if the 
inverted plait is used with the back gore the allow- 
ance for the plaits is made on its front edge only, 
and cut as in the plain gore skirt. Notch each gore 
Page Eighteen 



as before instructed so they will not be confused. Fold the 
new gores lengthwise by placing their edges together so 
that the fold will show the center of the gore, and in cutting 
the material place the pattern so that the center of the gore 
will come on the straight of the goods, pinning it on the 
wrong side of the goods in case it will not show a tracing, 
so the chalk marks will be on the side from which the bast- 
ing is done. 

First, mark the hip line of the original part of the gore 
then the two inner lines, which, when brought together and 
basted will form the plait in the center of the gore. Next, 
mark the lines which were the original edges of the gores. 
These represent the lines upon which to baste up the skirt. 
Lastly, mark along the edges of the new gores which repre- 
sent the lines upon which to baste up the seams at the back 
of the plaits. The allowance for seams is made when cut- 
ting out the gores. Baste the gores together, using a small 
running stitch, for about seven inches below the waistline, 
and from there down one-half inch stitches will be suffi- 
ciently small. 

Next, baste the two inner lines together in each gore 
which will form the plait in the center of the gore. Be- 
fore basting the gores together, carefully pin them at the 
hip line and then proceed as in a plain gore skirt to baste 
and fit. After fitting, the stitching is ready to be done. If 
the plaits are to turn toward the back, in stitching them 
down, see that the edges of the seams between the gores 
turn toward the front of the skirt. Also turn the basted 
plait in the center of the gore so that its underneath edge 
will turn in the same direction. If the plaits are to turn 
toward the front, reverse the order, turning their edges 
toward the back of the skirt. They may be held 
in position, if the stitching is to come on or very near 
to the edge of the plait, otherwise it will be necessary to 
baste a little distance back from the edge of the plait and as 
far down as it is to be stitched on the outside. 

Stitch the plaits down on the outside in the upper part 
of the skirt in any way desired, and then where this stitch- 
ing discontinues, baste the seams from the inside of the 

Page Nineteen 



skirt, which will hold the 
gores together at the lower 
part of the skirt where 
the plaits fall out, and 
then stitch. 

Finish the top of 
the skirt. 
Leave the 



■^- 



yi. 



tk 



FIG. 160 



% 



plaits basted in their full length until the bottom is turned 
and basted at the correct length and then press well along 
this bottom edge to show just where the edge of the plaits 
will come when in their correct position, as they are inclined 
to drop below the bottom of the skirt at their edges. If the 
material will not show tracing, in putting in the basting 
mark at the bottom of a plaited skirt, a loop of the thread 
must be left at the edge of each plait long enough to reach 
across the plait when the plait is drawn out. It is important 
to bear this in mind, where the bottom outline is not pressed 
in, or the length would be lost when the plaits were unbasted. 
After pressing or marking the bottom, undo just enough 
of the basting, holding the plaits, to finish the bottom ; re- 
Page Twenty 



baste and press the plaits, noticing that they are in position 
at the bottom edge of the skirt. Press the skirt thoroughly 
and remove the basting. 

If a skirt with plaits placed in about knee depth 
or below, is desired, allow an extension from that point on 
the bias edge of the gore, wide enough to make as many and 
as wide plaits as desired. Cover the plaits where they are 
fastened down at the top with a stitched strap or braid. 

Gored skirts that have a side plait let into the seams 
some distance up from the bottom are sometimes trouble- 
some through a tendency of these inlet plaits to show below 
the bottom edge of the skirt, as there is nothing to which 
to sew them. This difficulty may be overcome in this man- 
ner: Bind the top of each cluster of plaits, and after the 
skirt is otherwise finished, take a tape or a strap of lining 
and sew it to the top of each cluster, letting it extend from 
one to another all around the inside of the skirt. In a 
light-weight skirt this is generally found to be enough, but 
in a heavy-weight cloth a short tape or strap may run diag- 
onally from the top of each cluster to the next seam and be 
firmly sewed there to the wrong side. 

When a plaited skirt is made of material that will 
launder, the laundering will not be difficult if one under- 
stands the correct way of ironing. Do not press the lower 
part of the skirt out flat, but lay each plait as it is pressed 
on a line with the upper portion in position all the way 
to the bottom of the skirt and press it down. Afterwards 
the iron may be run under the plait to smooth the part 
underneath. 

SKIRTS WITH TUCKS OR PLAITS BETWEEN THIl 
PLAIN GORES. 
To make a skirt with two tucks between the plain larger 
gores, in order to preserve the symmetry of the skirt, it 
will be necessary to narrow the original gores on either 
side, decreasing them at the hip line and bottom outline 
just one-half of the space taken up by the tuck and the 
space between the two tucks. For instance, if two inch- 
tucks stitched back one-half inch with one-fourth of an 
inch space between them at the hip line are desired, draft 
as for a seven-gore skirt or any other preferred, and 
measure on either side of the line marking the edge of 

Page Twenty-One 



the original gores (see dotted lines Fig. 161), three-eighths 
of an inch in this case, or one-half of three-fourths (as the 
tuck is to be one-half inch wide and the space between them 
is one-fourth of an inch) . Make the decrease at the bottom 
outline according to the distance the plaits are to be apart 
there, say three-fourths of an inch in this case. Connect the 
corresponding points on the hip line and at the bottom by a 
straight line extending on up to the waistline. Then, 
from the marks on the hip line, draw the curves for the 
darts on the gores by drawing lines parallel to the orig- 
inal curves as far from them as the mark on the hip line 
is from the edges of the gore, or one-half the width of 
one tuck and the space between the two tucks (in this 
case, three-eighths of an inch). (See solid lines on either 
side of the dotted lines Fig. 161). 

The numbered arrow-head lines in Fig. 161 show the 
edges of the plain gores — number one of the front gore, 
number two the second plain gore, number three the third, 
and the one numbered four and five the back gore and in- 
verted plait respectively. The unnumbered arrow-head 
lines indicate the edges of the wedge-shaped gores. 

Now trace on these new lines and cut both the plain and 
wedge-shaped gores. Trace the edges of each on another 
piece of paper, and the back edges on each piece will show 
where the edge of the tuck is to be turned, and the front 
edges of each will show where the edge of the tuck on 
the gore in front of it will come, if the tucks turn toward 
the back. Otherwise, the order will be reversed — the 
front edge showing where the tuck is to be turned and the 
back edges where the edge of the tuck on the gore back of it 
will come. Now, add to either side of the plain and the 
wedge-shaped gores, at the hip line, one-half of the width 
of the tuck on the double or the width the tuck takes up 
at the hip line (in this case one-half inch), and to make 
the plait at the bottom add to either edge one and one-half 
inches. Connect these corresponding points on each edge 
and mark these edges, when on material, as they are the 
lines upon which the skirt will be basted. 

Place the gores on the material as instructed for side- 
plaited skirts. Make the allowance for seams when cutting 
the material. Proceed to baste and fit in the usual way, or 

Page Twenty-Two 



an easier way is to baste the edges first where the tucks 
turn back, basting the full length of the skirt to hold them 
in position until the skirt is finished. If the tucks are to 
turn toward the back, holding the right side of goods toward 
you turn back the edges of the front gore on the inside 
markings; likewise at corresponding marks at the back or 
left-hand side of each gore, and put the skirt together by 



FIG. 161 

basting these edges along the inside markings on the front 
or right-hand side of each gore. If tucks are to turn toward 
the front, reverse the order. 

For a skirt with three tucks between the plain gores 
decrease the width of the original gores at the hip line 
and bottom outline in the same proportion as for two 

Page Twenty-Three 



tucks; that is, decrease the width of the gores at these 
points one-half the space taken up by two tucks and the 
space between them. Proceed to make the pattern for the 
new gores in the same way as before, taking for illustra- 
tion the same width tucks and space as before, at the hip 
line — two one-inch tucks on the double, each taking up 
one-half inch space when made, with one-fourth of an inch 
between the tucks would make one inch taken up by tucks 
and one-half inch in the space between the tucks, making 
one and one-half inches. Then decrease the gores at this 
point one-half of one and one-half or three-fourths of an 
inch, marking on either edge of the original gores as be- 
fore (see dotted lines Fig. 161), allowing as much flare at 
the bottom as is desired (in this case, V/z inches), seeing 
to it, however, in other cases that not enough is added to 
make an overlap at the bottom, when basted. The tucks 
will fall out at the bottom when skirt it finished, but the 
edges should not overlap. Connect the points and draw lines 
above the hip line, showing edges of new gores, as before. 
Make the allowance on the edges of the gores as before — 
one-half the width of the tuck on the double or the width one 
tuck takes up at the hip line, and at the bottom one and 
one-half inches. Connect the points and mark the edges 
as before. The center line of the wedge-shaped gores, or 
the line representing the original edges of the gores (see 
dotted lines Fig. 161), is the line representing the edge of 
the center tuck. To make the allowances for it, cut along 
this line and spread it at the hip line the whole width of 
the tuck (in this case, one inch), and the whole width it 
is to be at the bottom (in this case, three inches), re- 
membering to mark these two lines on the material as 
well as the others, for these inner lines on the wedge- 
shaped gore will be basted together. 

Proceed to baste, fit and finish as before instructed. 
Skirts with a greater number of tucks between the plain 
gores may be developed by making calculations in the same 
proportion. 

CIRCULAR SKIRTS. 

The circular skirt is especially graceful and attractive 
and doubtless all are willing to admit of its desirability 

Page Twenty-Four 



from good style point of view, but unfortunately it will sag. 
Of course, if made in a long skirt it will matter little wheth- 
er the bottom sags or not, but a short skirt must always be 
an even distance from the floor. 

Under this head are those of different number of gores, 
and those shirred, or with small tucks at the top to take up 
the extra fullness at the waist when less difference is de- 
sired between the width at top and bottom. Do not make a 
skirt from material that stretches easily for it would be 
impracticable. 

Serge is perhaps one of the best materials from which 




FlE. 162. Circular Skirt Top, or Circular Skirt. Portion of Russian Blouse. 

to develop the circular skirt. Do not cut this style of 
skirt from narrow width material for the point of a one or 
two-piece skirt is the avoidance of seams. Neither is it 
advisable to make a circular skirt from material that will 

Page Twenty-Five 



need laundering as they are not liable to be laundered 
satisfactorily. 

Four and one-third yards is a good average width for 
a circular skirt at the bottom. At present, the short length 
made with the flat habit back measures about three and a 
quarter yards, while the sweep length with an inverted plait 
is about three and five-eighths yards at the bottom. The 
width, as in any other skirt, varies with the prevailing style. 

A pattern for a one-piece circular skirt may be made by 
first drafting a seven-gore skirt, cutting the gores out and 
notching as instructed, and pinning them on a large piece 
of paper, with the edges of the gores in their proper order, 
letting the edges of each meet at the waist and hip lines, 
with the exception of back edges of front gore and front 
edge of first side gore which should just meet at waistline 
and lap one-fourth of an inch at hip lines and the bottoms 
of the gores lie as they will. (See Fig. 162.) Measure 
around the bottom as it is, and if not wide enough a 
small amount may be added to the back edge of the back 
gore, gradually sloping up to the hip line. If it measures 
too much then place side front and side back gores so that 
they stand apart at the waistline from one and a quarter 
to two inches, which will bring them closer together at the 
bottom. When cutting mark the dart at the side and baste 
it in before fitting. In some forms, where the hips are not 
large, it will be best to take up the extra fullness in two 
darts or in several small darts, making an equal number 
on either side of the fullest part of the hip. 

For the two-piece circular skirt with a seam in front, 
draft a pattern for a four-gore skirt with a seam in the 
front and place the back edge of its front gore to the front 
edge of the back gore together at the waist and hip lines, 
letting the bottom edges of the gores lie as they will, trac- 
ing at waistline and along the bottom outline of the gores, 
marking off the space between them an even distance from 
hip line and connect in a smooth, even outline. In cutting 
this style they are commonly cut by placing the center of 
the front on the selvage or by folding the back and front 
edges of the pattern together and letting this fold come on 
the straight of the material but it will be found the best way 
to distribute the bias and straight grain of the goods is to 

Page Twenty-Six 



place the center front at the bottom at the selvage and at 
the top from three to four inches back from the selvage. 
This may be varied by using a double box plait at back, de- 
creasing each gore one-half of the width of this plait. 

If a skirt with a circular front only is desired, place 
the front, first and second side gores together as directed 
in the one-piece, and then cut the back gores separately. 
Or place the front and first side gores together as instructed, 
cutting the two as one gore, placing the center of the front 
on the straight of the goods, trace hip line, waistline and 
trace curve at the back edge above the hip line, which will 
be the curve at the back edge of the original first side gore. 
Then place the second side gore and the back gore together 
at the waist and hip lines the same as those just cut, and 
place the front of this new gore on the straight of the goods 
and trace hip line and the curve above the hip line on the 
front of the gore, which will be the curve at the front of the 
original second side gore. There will be a dart taken out 
at the waist on either side of the skirt in these two models. 
A circular skirt cut after this fashion will prevent, to some 
degree, the sagging referred to which occurs in circular 
skirts. 

After fitting, seaming and belting a circular skirt, fold 
the sides of the waistband together, fasten a loop at each 
end and half way between. Hang the skirt on hooks placed 
far enough apart to hold the belt out straight. Weight 
the skirt at the bottom by pinning together strips from 
your piece bag from four to eight-ply thick and pinning 
to the lower edge of the skirt, which will give the same 
weight all the way around, and will stretch the skirt just the 
way a heavy facing would stretch it. Let the skirt hang for 
two or three days and by letting it do this sagging before- 
hand it will prevent to a large extent the unevenness at the 
bottom afterwards. 

After the skirt is turned up, basted and re-tried on, 
cut a facing about three inches wide. This facing should 
be shaped to fit the bottom of the skirt by pressing with a 
hot iron, slightly stretching the lower edge as already in- 
structed. 

It is an excellent idea never to hang a circular skirt 

Page Twenty-Seven 



when not being worn, but to fold it lengthwise and keep 
in a skirt box or long drawer. 

SHIRRED SKIRTS. 

There are several ways in which skirts may be shirred ; 
some are shirred all around the top, while others are shirred 
on the sides and in the back, leaving the front gore plain; 
some have just a few rows of shirring, while others are 
shirred to a depth of five or six inches; some have every 
other gore shirred and the others plain. 

Those that are shirred all the way around at the top 
should have the front gore gored about half way down and 
the other gores straight. Have a foundation yoke under- 
neath of lining as deep as the shirring extends, so that the 
fullness may be held perfectly in place. If the rows of 
shirring are close it will be sufficient to tack every other 
row to the foundation yoke, but before doing so distribute 
the gathers so that they will not be bunched up in places 
and too spare in others, and have the same general direc- 
tion in all of the rows. Also see that most of the fullness 
is in the back. It usually gives a better appearance to the 
skirt to begin the shirring about an inch and a half below 
the waistline in front and gradually slope it up to the waist- 
line in the back, especially if one is short waisted in front. 
Make the space between the rows the same. 

Materials suitable for shirring are the soft fabrics such 
as voile, crepe de Chine, messaline, challis, and the soft 
summer goods, etc. The silk voiles and mulls, chiffons, 
crepe de Chine, messaline silk and nets are charming for 
evening wear. For the day time all of the chiffon wool 
materials, such as voile, challis, nun's veiling, soft silks, etc. 

In some models, groups or bands of shirring are put in 
the skirt below the shirred yoke, varying in the distance be- 
low the yoke and from each other, but whatever the distance 
is between the yoke and second group of shirring it must 
be the same all the way around the skirt and the same rule 
will apply with the second and third groups of shirring. 
As a rule the fullness of the skirt will not admit of more 
than two groups of shirring and where more than two are 
wished the third is at the top of a flounce which is attached 

Page Twenty-Eight 



to the skirt an even distance all around from the lower 
edge of the second band of shirring, so in cutting this kind 
of a skirt, cut the top first which will depend on the depth 
the flounce is to be. The flounce is made from straight 
widths. 

One way to make the shirred skirt is to cut the widths 
of the goods perfectly straight (with the exception of the 
front gore, which is gored about half way down) , and use 
enough of them to make the skirt plenty full ; or the gores 
may be used by making each gore half as wide again as in 
a plain skirt, and then seam them up, Shirrings may be 
placed equal distances apart or in groups. If every other 
gore is shirred, cut the gores to be shirred half as wide 
again as the plain gores. 

The shirring may be done in different ways, flat, over- 
hand, tucked and cord. The >--civ^™v^,^ru«niv-.r*-i-, 

flat shirring is perhaps the most 
commonly used, being made by a 
straight running stitch. (See 
Fig. 163.) The overhand shir- 
ring is done from the wrong 

side of the material by making ^^^- ***• 

overhand stitches from one-eighth. to a quarter of an inch 
in length along a folded edge. This shirring stands in lit- 
tle puffs between the rows of gathering and will not slip 
as in the flat shirring. It is especially suited to filmy fab- 
rics. 

The tucked shirring is very effective and easily made 
as it is simply tiny tucks made by the running stitch. (See 
Fig. 55, Lesson 1.) 

To do the cord shirring, first mark the distance the 
rows are to be apart, then put the cord on the wrong side 
of the material just under the line of marking, forming 
a casing for it by making a running stitch close to the 
cord exactly opposite marking and being careful that no 
stitches are caught into the cord. (See Fig. 54.) If one 
has a corder with their sewing machine, the cording can 
be quickly done. The flat and tucked shirring is, also some- 
times done on the machine by loosening the upper tension 
and lengthening the stitch. Test it on an extra piece of 
material until it is just right. 

Page Twenty-Nine 



The lines for the shirring may be marked by using 
a piece of cardboard cut the length the shirring is to be 
apart. Measure along every two or three inches and 
mark with basting or tailors' chalk. Mark all the rows 
before beginning to shir. 

Sometimes in soft thin materials, in using the tucked 
shirring it is best to shir right along behind the card- 
board measure. After putting in the first row, hold the 
measure at the top of it with the left hand a couple of 
inches ahead of the needle, then shir up to that point of 
measurement and so on. Or the marking may be put in 
with basting, which can be removed after the shirring is 
done. Instructions for finishing a shirred placket were 
given in Lesson 8 also finishing skirt at bottom made from 
soft materials. 

Bear in mind that an allowance on the length of the 
shirred gores will need to be made according to the kind 
and number of rows of shirring used, tucked and corded 
shirring requiring more length than the plain shirring. 



Page Thirty 



QUESTIONS. 

1. What skirt is usually used for a foundation skirt? 

2. Explain how to finish a foundation or drop skirt 
in a French seam to preserve the fit of the skirt. 

3. (a) Explain how and where to cut the skirt off 
at the bottom when a foot ruffle is desired, (b) How is it 
applied? 

4. Explain how to proceed to estimate length of top 
ruffle in the graduated flounce. 

5. (a) How is the pattern prepared for a walking 
skirt? (b) Explain fully the finishing around the bottom. 

6. How is the draft made for the raised-waistline 
skirt? 

7. Explain how the skirt is supported at the top and 
tell how the belt is made. 

8. Explain fully how the skirt should fit on the belt 
and below its upper edge. 

9. (a) How is a high-waistline skirt supported at the 
top? (b) Explain how the bodice stay is made. 

10. Explain how a narrow circular skirt yoke pattern 
without darts is made. 

11. A deep one-piece circular yoke, which fits closely 
at the bottom. 

12. The three-piece yoke as shown in Fig. 159. 

13. (a) Explain how the pattern for a circular pep- 
lum without darts is made and cut; (b) a deep circular 
peplum with two darts on either side; (c) a peplum with a 
seam at the side. 

Page Thirty-One 



14. (a) What plain gored skirt draft should be se- 
lected for a side-plaited skirt, what allowance for plaits is 
made and at what points on the original gores? (b) Why- 
is it best to cut the gores of a plaited skirt so that the edges 
of the plaits will come as nearly as possible on the straight 
of the goods? 

15. (a) When a few-gored skirt draft is selected, ex- 
plain how the pattern may be made for a plait at the cen- 
ter of the gore, (b) How should the basting which marks 
the bottom of a plaited skirt be put in? 

16. (a) Explain how to change a plain gored skirt 
draft for a skirt with two tucks on the seams, and state 
how and where the allowance for the tucks is made, (b) 
Also explain, briefly, how to make a draft for a skirt with 
three tucks on each seam. 

17. Explain fully how a one-piece circular skirt is 
drafted ; a two-piece. 

18. How are the gores arranged for a skirt with a 
circular front only? 

19. Name some of the different models in shirred 
skirts and the materials suitable for such skirts. 

20. In cutting the gores of a shirred skirt, where 
every other gore is plain, how much wider and longer than 
the plain gores should the ones to be shirred be cut? 



Page Thirty-Two 



THE 

AMERICAN SYSTEM 

OF DRESSMAKING 



A Course of 

Instruction by Mail 

in the 

Science and Art 

of 

Successful 

Dressmaking 

And Ladies' Tailoring 



Lesson No. 10 



The American College of Dressmaking 

(Associated TrainiDg Schools, Proprietors. ) 

KANSAS CITY, MO., U. S. A. 



Copyrighted 1906, 1907, 1908 and 1909 
by J. M. Stelle 

Copyrighted 1910 and 1911 
Ap Associated Training Schools 



Jill rights reserved. 



T^rinted in the United States. 



Clbe 



American s>|>0tem 
of Bre00mafeing[ 

TAUGHT ONLY BY THE 

American College of Bressmafetng 
Kansas Cttp, JHo. 

Miss Pearl Merwin, Supervisor. 

Lesson No. 10 

SKIRTS WITH FLOUNCES. 

To draft a pattern for a flounce the same depth all 
around, extend a draft representing the desired number of 
gores and measure up from the bottom outline on each line 
just the depth that the flounce is desired and connect these 
points, being careful to make the connecting line smooth in 
order to give a pretty outline to the top of the flounce. 
(See long dotted line in Fig. 160.) 

For a graduated flounce mark the depth it is to be in 
front by measuring up from the bottom of the skirt on the 
renter front or right edge of paper; likev^^ise measure th^ 
ilepth it is to be in the back. For example, if it is to be 
line inches in depth in front and eighteen inches in the back, 
measure up nine inches from the bottom at center of front 
and eighteen inches at the back or on Line 32. Now a 
gradual curve must be made connecting these two points. 
The distance from one to the other is too great to try to draw 
this curved line without having some points between. These 
may be made by folding the draft so as to divide the flounce 
lengthwise into halves. This is done by folding the nine- 
inch flounce mark over on the midway point of Line 32 be- 
tween the bottom and eighteen-inch mark, letting the lines 
representing the front and back edges fall as they will. It 

Page Three 



will be observed that they will not come on a straight line 
with each other. 

Then, being careful that the paper does not slip, fold 
twice more which will divide it into eighths. Unfold the 
draft and draw lines on the marks made by folding, which 
are seven, dividing both the top and the bottom of the 
flounce into eight equal parts. (See solid lines in Fig. 160.) 
Number these lines 1 to 7, respectively. (See Fig. 160.) 
Then, on Line 4, which is the center one of these lines, meas- 
ure up from the bottom and mark the depth of the flounce 
at this point, which should be one-half of the sum of the 
front and back depths. In this instance the front depth is 
nine inches and the back depth is eighteen inches. Their 
sum is twenty-seven inches, and one-half of this is thirteen 
and one-half inches, therefore measure up thirteen and one- 
half inches on Line 4 and make a point. By finding the 
other lines in the same manner, it would make the increase 
too much near the center of the front and back where the 
curve at the top of the flounce should be the most gradual, 
therefore, make the increase on Line 1 only one-half of an 
inch over the front of the flounce, making its depth nine 
and one-half inches; increase Line 2 one inch and increase 
Lines 3, 4, 5 and 6 each one and one-half inches, then Line 
7 one inch, as marked on illustration. 

Divide space at top and bottom outline of flounce be- 
tween its front edge, the lines just drawn and its back 
edge, into two equal parts, which are indicated by dotted 
lines in Fig. 160. 

This will divide the flounce lengthwise into sixteen 
equal parts as represented by the lines in Fig. 160. Con- 
nect the top of these lines which will result in a smooth line 
for the top of flounce. Cut the flounce off on this line, also 
on bottom and center front line and Line 32, preparatory to 
making the flare for it. 

Make the estimate for the flare in the same manner as 
given for the plain flare skirt — subtract the width of the 
draft at the bottom from the width desired and the differ- 
ence will be the amount to be added to the draft. Remem- 
ber that less flare is put in front and that it gradually in- 
creases toward the back. A flounce about four yards around 
the bottom is sufficient for a plain flared flounce similar to 

Pag€ Four 



the one illustrated in Fig. 160. Now, cut the flounce on all 
the lines, both dotted and solid, beginning at the bottom and 
continuing as near to the top as possible without cutting 
entirely through. This will hold them together, but for fear 
they should get torn apart and misplaced, number all the 
divisions in regular order. 

Pin the first division on a large piece of paper upon 
which the flounce is to be made. Pin it near the top and at 
the bottom, and while holding the second division at the top 
to be sure the top outline of flounce is being preserved, with 
the left hand pull the bottom part of this division back far 
enough to give the desired flare, and pin in place, continuing 
to increase the flare in a regular proportion. In this case 
enough is added in the flare to make the skirt four yards 
around at bottom edge of flounce, therefore, flare according 
to markings at the bottom right hand side of the division 
lines of flounce in Fig. 160. Flare the first and second por- 
tions each one-fourth of an inch and increase one-half 
inch when an increase is made, but do not increase as rap- 
idly as you approach the back or it will be too full there, 
as you will recall considerable flare has already been added 
to the back of the skirt in the inverted plait to which the 
flounce is now being added. In the second two slashes or 
divisions, increasing the flare on the first two by one-half 
inch makes them three-fourths of an inch ; the next two are 
also increased by one-half inch, making them one and one- 
fourth inches; the next four slashes are flared one and 
three-fourths inches, and the last flve are flared two and 
one-fourth inches. It is important to pin each division 
carefully, as the upper outline of this new flounce must be 
exactly the same as the one cut from the draft, so that 
when the top of the flared flounce in the material is sewed 
to the lower edge of the skirt, it will fit. 

Cut the flared flounce pattern by cutting along front 
edge, top line of flounce, and back edge. Before cutting its 
lower edge observe that when spreading the slashes to make 
the flare that their back edges extend lower than their front 
edges, so to make an even bottom outline, cut from the low- 
er edge of one to the lower edge of the next one to it. To 
cut flounce from material place center of front on a fold of 
the goods, adding the widths to the flounce by piecing the 

Page Five 



straight edge of one width to the straight edge of another. 
Mark the center front on the material, also along the top, 
bottom and back edges and cut, allowing a seam about three- 
fourths of an inch wide on the back, an allowance on the 
top according to the way it is to be finished and about one 
inch below mark indicating the bottom, if a facing is to 
be used, but if a hem is used, add the width of the hem 
below bottom outline. 

In cutting the gores for this skirt, cut as before in- 
structed and trace each at the bottom where flounce was cut 
off, allowing a seam's width below this tracing when cutting 
material, and when basting up the gores see that these trac- 
ings at the bottom meet each other and that the tracing at 
the top of flounce is basted through these tracings at the 
bottom of the gores, otherwise the skirt length will be 
changed. In some models, however, the skirt portion ex- 
tends a few inches over the top of flounce or is finished at 
the bottom with one or more tucks, therefore, in cutting 
the gores from the material, mark along the lower edge of 
each, as a guide in basting skirt and flounce, where top is fin- 
ished plain, and cut as much longer than pattern as exten- 
sion is desired. If skirt portion is finished in tucks, make 
allowance below pattern according to number and width 
of tucks and after they are taken up, lay the pattern on each 
gore and mark before basting skirt portion and flounce to- 
gether. 

Before basting the flounce on, first seam it up in the 
back and press the seams, then, if the top of the flounce is to 
be finished by rows of stitching, turn the allowance back on 
the tracing from the right side and baste along its edge, then 
pin the flounce on the skirt beginning at the center front of 
each and pin to the back on either side being careful not to 
stretch the top of the flounce, or it will be too large to flt 
on the skirt. 

The top may be finished in as many rows of stitching 
as desired. It may also be finished at the top with braid, a 
strap of the same or contrasting material, etc., and in such 
cases, to save the extra thickness underneath the finishing, 
do not turn the flounce at top before putting on to the skirt, 
but baste flat, being careful, as before to see that the tracing 
on flounce comes exactly on tracing on skirt. Finish the bot- 

Page Six 



torn of the gores underneath according to the texture of the 
material by notching, binding or overcasting and the bot- 
tom of the flounce just as instructed for finishing any other 
skirt of like material. Flounces are also put on skirts in 
many other ways, such as shirring, plaiting, gathering, 
tucking, etc. Such flounces are cut with little or no differ- 
ence between the top and bottom, the extra fullness at the 
top being taken in as above described. The deeper the 
flounce the more fullness it will require accordingly. 

TUCKS AT BOTTOM OF SKIRT. 

Tucks of various styles and sizes are fashionable at 
different times and they are always appropriate for full 
skirts of soft materials, which seem to demand something 
more than a plain hem for a finish. They are not so 
difficult to put in when the bottom of the skirt is straight 
or nearly so, but the increased fullness often requires the 
bottom of these skirts to be almost circular, so that it is 
sometimes puzzling to know just how to put them in and 
make them lie flat. 

Nun tucks are ordinary tucks but are more difficult to 
accomplish, and on account of their depth, require different 
treatment because where the bottom of the skirt rounds at 
the sides and back, the lower part is naturally fuller than 
the upper. 

Before the skirt can be finished around the bottom, 
or the length marked, it must be stitched or firmly basted 
to the belt so that it cannot sag or fall from the waistline, 
as it is very important to have an even length before put- 
ting in the tucks, so that no alteration will be necessary 
afterwards. Turn the bottom and mark the same as any 
skirt and then baste the skirt up near the bottom, pinning 
the extra depth allowed for tucks up out of the way 
while the skirt is tried on again to be sure it is even. 
When perfectly even, mark the bottom with a thread, let 
the bottom out and measure the shortest distance below 
this thread and make the same depth all the way around. 
That is, if the shortest space below this bottom mark 
measures seven and one-half inches, then measure down 
seven and one-half inches all the way around the skirt 
and cut off any material that comes below the seven and 
one-half inch mark. 

Page Seven 




Next, plan the width the hem and tucks are to be 
made, allowing one-quarter of an inch for the turn at the 
top of the hem and from a quarter to a half-inch allow- 
ance that the tucks will take up — according to the material 
— remembering that a tuck will take up goods equal to 
twice its width. That is, what is called a two-inch tuck 
will take up four inches of goods. 

Using a thread to match the 
material, so that it need not be 
taken out, turn the bottom of the 
skirt back from the right side a 
seam's width and as this folded 
edge will be the upper part of the 
hem, make the stitches small so 
Pig. 164. that it may be gathered by draw- 

ing the thread enough to make it lie flat against the part 
of the skirt to which it is to be stitched. Cut a piece of 
cardboard twice the depth of the hem desired, notching 
at its center, and measure all around the bottom every few 
inches and mark it at top and center of cardboard. Baste 
the hem close to the bottom edge with small stitches, also 
baste the upper part of the hem, drawing the gathering 
thread already put in enough to make it lie flat and pinning 
ahead of the basting. (See Fig. 164.) 

The next thing to do after the hem is put in is to mark 
off the tucks and baste them. Cut another piece of card- 
board the depth of the desired distance between the top of 
the hem and the flrst tuck, plus twice the depth of the first 
tuck and make two sets of notches on either side of the 
cardboard — one set marking the distance between the hem 
and the tuck, and the other marking the line where the 
tuck is to be basted in, and the top of the cardboard mark- 
ing the folded edge or center of the first tuck. That is, 
if the distance between top of hem and first tuck is one 
inch and the first tuck is two inches in depth, make the 
notches on the cardboard one inch from its lower edge and 
the second set of notches two inches above the first set. 
Measure all around the skirt every few inches and 
mark at both sets of notches and at the top of card board. 
When these marks are in all around the skirt, fold the edge 
of the tuck (which was the line marked at the top of the 

Page Eight 




cardboard) , and baste close to its edge, then baste the tuck 

in by laying the skirt on a table with the full part of the 

skirt uppermost and baste along the mark indicating the 

depth of the tuck, laying the extra fullness in small plaits so 

it will lie naturally. (See Fig. 

165.) Then measure from 

the top of this tuck as basted, - n- r-^ - 

in the same manner as before, 

for as many tucks as desired. 

If, after the tucks are bast- 
ed in and the skirt fitted on, it 
is observed the material has 
not taken up quite as much as 
was allowed for it, thus mak- 
ing the skirt a little longer 
than was intended, it can be 
taken up by stitching inside p,^ ^^^ ^ 

the basting of each tuck just Preparing »Nun" Tucks. 

enough to make up the difference; on the other hand, if 
the skirt has taken up more than was allowed, stitch outside 
01 the basting of the tucks. 

After stitching the hem and tucks, press them well 
on the wrong side. 

SKIRTS OF UNEVEN NUMBER OF GORES. 

To draft a skirt pattern of any number of gores, it is 
first necessary, as stated before, to draw a light foundation 
of a seven-gore skirt according to the measure desired, in 
order that one may have the correct length and position of 
the hip line upon which to build. Then divide the hip line 
according to the number of gores desired. 

Instructions have been given for drafting the five, 
seven, nine and fifteen gored skirts, to illustrate how the 
division of the hip line may be made, and, using these in- 
structions as a basis, one may proceed with this division 
as far as practicable. 

In drafting a pattern for the many-gored skirts of an 
uneven number of gores, after making a light seven-gore 
foundation, proportion the gores similar to instructions for 
fifteen-gore skirt, so that the entire width of the front 
gore will be about one-half inch wider than the others. 

Page Nine 



Then, after laying off the width of one-half front gore 
(which is the part that will appear on draft), measure 
the remainder of the hip line and divide into as many equal 
parts as half the number of gores desired in the skirt, 
minus one. Thus, in the eleven-gore skirt, after propor- 
tioning width of one-half the front gore at hip line, divide 
the remainder into five equal parts, in the thirteen-gore 
Into six equal parts, in the fifteen into seven parts, in the 
seventeen into eight parts, in the nineteen into nine parts, 
in the twenty-one into ten parts, in the twenty-three into 
eleven parts, etc., making as many divisions as practicable. 

SKIRTS OF EVEN NUMBER OF GORES. 

Draft a pattern for the even number of gores just the 
same as for the uneven when no seam is used in front and 
center back, the change being made in cutting. 

For instance, in a four-gore skirt, use the five-gore 
draft, cutting the front gore with its center and the back 
gore with Line 16 on a fold of the goods. (See Fig. 149.) 
Cut side gores same as instructed for five-gore skirt. 

If a seam is desired in the front and back, omit the 
side gore as represented on five-gore draft, adding its width 
to the front and back gores. Do this by extending Line 19 
below hip line, which will represent the back edge of front 
gores and the front edge of back gores. To cut front gore, 
place right edge of draft on a straight edge of material, 
trace hip line first, then the darts and waistline the same 
as in five-gore pattern. Omit Line 17. Trace Line 19 be- 
low the hip line, and the curve above the hip line that marks 
the front edge of the side dart. To cut the back gore, place 
Line 19 on the straight edge of material and trace hip line 
first; then the dart, and the curve above the hip line, that 
marks the back edge of the side dart. (See Fig. 149.) Next 
trace Line 16 and the lines representing the inverted plait, 
if one is desired. 

For a six-gore skirt, use the seven-gore draft, cutting 
the front gore with its center and the back gore with Line 
16 on a fold of the goods. (See Fig. 137, Lesson 7.) Cut 
side gores the same as instructed for seven-gore skirt. 

If a seam is desired in the front and back, make only 
one side gore. As there will now be the upper part of three 

Page Ten 



full-sized gores on this draft, of equal size, measure from 
right edge on paper on hip line one-third of one-half of 
hip measure, and draw a new line dividing the space, both 
above and below the hip line between Lines 4 and 8, 
equally. This line represents back edge of front gore and 
front edge of side gore. Divide the remaining space on hip 
line into two equal parts and from this division draw a new 
line which will represent the back edge of the side gore 
and the front edge of the back gore, dividing the space 
above and below the hip line, between Lines 8 and 12, 
equally. Then place darts on these new lines, making the 
sum taken out in both a little less than dart on Line 8, and 
the remainder will be taken off at waistline on back edge 
of the back gore, sloping off to termination of hip line on 
down to bottom of skirt. This will vary according to the 
measures taken and the form of the person, taking out 
more on the back edges than on the front edges. 

For an eight-gore skirt use the nine-gore draft, cutting 
the front gore with its center and back gore with Line 16 
on a fold of the goods. (See Fig. 150.) Cut the side gores 
the same as instructed for nine-gore skirt. 

If a seam is desired in the front and back, make only 
two side gores by dividing the space between Lines 17 and 
19, 19 and 20, 20 and 18, into two equal parts, both above 
and below the hip line. This will throw one-half of the 
width of the first side gore into the front gore, also one- 
half of the original third gore into the back gore, then 
this will make two side gores instead of three, which will 
represent the upper part of four whole gores. Take out 
the darts altogether on the three new lines, proportioning 
them similar to the darts in a seven-gore, except as the 
front and back gores just made are wider (as this repre- 
sents the upper part of whole gores), place a little more 
of the amount taken out in the seven-gore side dart into the 
front and back. It will be observed these new edges of 
front and back gores come nearer the hip, where there is, 
as a rule, more difference between the hip and waist meas- 
ures. 

In making a draft for a skirt with an even number 
of gores, having a seam in front and center back, (after 
making a light seven-gore foundation), divide the hip line 

Page Eleven 



in draft into half as many equal parts as is desired in the 
entire skirt, and put in the darts according to the meas- 
ures and form of the person for whom the skirt is to be 
made; that is, for a ten-gore, divide the hip line on draft 
into five equal parts, etc. It is not likely, however, that 
one with more than eight gores will be desired. 

To draft a pattern of a skirt for an even number of 
gores without a seam in the front and center back, whose 
number of gores will necessitate dividing the hip line so that 
the width of each gore at hip line will be more than three 
inches, make the width of the gores, including the front 
gore, equal at hip line. First, lay off front and back gores 
on draft, which will be just half the width of the entire 
gores, as the part on draft of these gores will represent just 
half of their width at hip line, then divide the remaining 
space at hip line into just half as many equal parts, less 
one, as the entire number of gores desired. That is for a 
ten-gore skirt of this style, the "remaining space" should 
be divided into four equal parts; in the twelve-gore into 
five equal parts; in the fourteen-gore into six equal parts; 
in the sixteen-gore into seven equal parts, etc., continuing 
in the same way for any number of gores. 

Likewise for the many gored even number of gores, 
without a seam in front and center back, whose number of 
gores will necessitate dividing the hip line so that the width 
of each gore at hip line will be less than three inches, al- 
ways make the front gore at hip line about three inches, 
as* this gore in the many gored skirt should be a little wider 
than the other gores, and it does not look so well narrower 
than three inches at hip line. Then mark off one and one- 
half inches from right edge of the paper on hip line for 
the front gore, as the part on draft will represent one-half 
of the gore. Now, subtract width of front gore (three 
inches) from the entire hip measure, and divide the re- 
mainder into as many equal parts as the number of gores 
desired, less one (as described in the paragraph above) . 
Draw the lines representing the edges of the gores by 
first drawing a line for the back edge of the front gore 
and the front edge of the back, giving them a similar flare 
to those in five, seven, nine and fifteen gore draft (see 
illustration) ; and, after these two lines are drawn, divide 

Page Twelve 



the space between them at the bottom into as many equal 
parts as the space between these lines on hip line is divided 
and connect these corresponding points on the hip line, and 
at the bottom, making the lines an equal distance below 
hip Hne. See instructions for extending seven-gore draft. 
Take out the darts and draw bottom outline as instructed. 

BOX PLAITED SKIRTS. 

As in side-plaited skirts, the best model for a box- 
plaited skirt is a many-gored plain skirt draft, using as 
many gores as will make the plaits at the hip line the de- 
sired width. Draft exactly as for a plain skirt. The fif- 
teen-gore pattern will make the plaits a good width at the 
hip. Draw dotted lines dividing the length of each gore 
into equal parts. (See Fig. 166.) When making the pat- 
tern for the new gores, make an allowance on each edge 
of the gore at the hip and bottom lines for one-half the 
depth of the plait, as the other half will be added to the 
gore which joins it. Allow enough on the edges to make 
the skirt the desired width around the bottom. Five yards 
is a good average width. 

In cutting the box-plaited gores from the material, 
place center of each plait on the straight of the goods. The 
center of each gore is represented by the dotted lines with 
the exception of the front gore which is cut by placing its 
center or edge of paper on a straight fold of the goods. When 
cutting allow for the seams, after the edge of the gore is 
marked on the material, as these markings will give the lines 
upon which to baste the skirt. 

First trace the hip line and also the edges of the box- 
plaits, which are the lines representing the original gores, 
before allowance for plaits are made. If the material will 
not show tracing, then fold the pattern back on the lines 
indicating the edges of the original gores, then smooth pat- 
tern out and mark along the edges one at a time and mark 
along the folded edge on material. In drafting and cutting 
the back box-plaited gore, if the inverted plt\it is used no 
extra allowance need be made to the back edge of the gore, 
but simply trace or mark as instructed for the other gores 
and cut this gore and the inverted plait together, making 
allowance for plait on front edge only. 

Page Thirteen 



Now, as the edges of the box-plaits turn away from 
each other it will be necessary to have plain gores under- 
neath the edges to which to sew the box-plaits. The lines 
representing the back edges of the gores below the hip 
line and the straight line above the hip line will represent 
the center of these new gores. Make their width at the 
hip line and bottom outline a little less than that of the box- 
plaits, making an equal allowance on either side of its cen- 
ter line. In this case one and one-half inches at the hip 
line and three inches at the bottom outline (or three-fourths 
of an inch on either side of its center, at the hip line, or 
one and one-half inches at the bottom outline,) and con- 
nect the points with straight lines from bottom to hip and 
extend them on up to waist- 
line and these lines will rep- 
resent the edges of the 
new gores. For instance, 
to make the pattern 
for the plain gores 
on either side of 
box-plait at 
center front, 
trace on an- 



Ul 



FIG. 166 



Page Fourteen 



other piece of paper the line indicating the back edge of the 
front gore below the hip line, and the straight line above 
the hip line, and this line just traced will represent the cen- 
ter of the new gore as already explained. Next trace the 
waistline, which will extend across the front dart, then the 
hip line, bottom outline and edges of the gores. (See arrow- 
head lines Fig. 166.) The other plain gores are made in the 
same manner. Make the same allowance for seams when 
cutting as for the box-plaited gores. Cut with center mark 
on the straight of the goods. Before basting the skirt, baste a 
center mark in each of the gores. In this case there will be 
fifteen box-plaited gores and fourteen plain ones. Now fold 
the edges of the box-plaits back and baste along their edges, 
if plaits are to be stitched on outside in upper part of ski^-t, 
as is almost invariably the case. Baste the gores together in 
the same order as instructions in Lesson 7, pinning a box- 
plaited gore on a plain gore at the hip and basting its edge to 
the center mark on the plain gore the full length of the 
skirt. 

Pin up the bottom on mark, and then fit, making alter- 
ations as nearly as possible an equal distance from the cen- 
ter of the box-plaits. When the skirt is ready to stitch, if 
the box-plaits are to be stitched on the outside in the upper 
part of the skirt, do this stitching first and then baste the 
seams from the inside of skirt beginning where the stitch- 
ing stopped, and continuing on down to the bottom and 
then stitch them. If no stitching is to show from the out- 
side the seams must be basted in the usual manner all the 
way from the top and stitched, and the edges of the plaits 
will have to be held in place by trimming straps or by tack- 
ing each edge to rows of tape run around on the inside of the 
skirt, two or three rows being sufficient. These are put in 
just before removing the basting, after the skirt is finished. 
Pin the tape to the center front at the hip line and continue 
to pin, raising it on either side as the back is approached. 
Tack the edges of the plaits to it, being careful that the 
stitches do not go through to the outside. The rows of tape 
may be put in from four to six inches apart at the front of 
the skirt, raising toward the back from three to four inches. 

The instructions just given are for full single box- 
plaited skirt. Box-plaits are also set in at the seams of a 

Page Fifteen 



skirt, both full length and at a graduated or even distance 
from the bottom. Cut the plaits the desired width. One 
made one and one-half inches in width at the top of the skirt 
to three inches at the bottom of the skirt is a good slope for 
a full length box-plait on the seams. Fold a piece of paper 
for a pattern the length of the seam upon which it is to be 
placed including the hem, if one is used, and mark back 
from this center line at the top one and one-half inches (in 
this case) and three inches at the bottom and draw a line 
connecting these two points and trace; cut on the line just 
made, then open and trace along the fold, which is the center 
of the box-plait. This will make the pattern three inches 
across the top and six inches across the bottom. To cut the 
box-plait place this center mark on the straight of the goods 
and mark along the edges, which will be the line upon which 
to baste, and make the seam allowance outside of these 
marks. Before basting the box plaits in the seams, baste a 
center mark the full length of each and folding on this mark, 
pin along near the edge to keep the plait straight while bast- 
ing and see that the seam mark on the gores is exactly on the 
same line with the seam line on the plait. Any discrepancy 
may be obviated by making the seam allowance on each ex- 
actly the same, then if their edges are even the seam marks 
are bound to be on the same line. Sometimes the seams or 
box-plaits are each stitched down an equal distance from the 
waistline, but more frequently they are stitched lower at the 
front seams, gradually raising to the bottom of the placket 
in the back gore. Place pins along each gore as far from the 
waistline as they are to be stitched, and see to it that the 
length on corresponding gores is the same. After these 
points are marked, place the edges of the box-plaits be- 
tween the edges of the gores upon which they are to be, 
and pin from the hip line up. Beginning at the top, baste 
all four edges together as far as the marks, 'ineri irum 
there down, as the plaits are to fall out below these marks 
when the skirt is finished, make two seams by basting 
one edge of the plait to the edge of the gore next to it. It 
will be easier to fit by putting the skirt on so the seams 
will come on the outside, providing the person is the same 
size on both sides, otherwise try on in the regular way. 
When the fitting is done, let the seams of the box-plaits out 

Page Sixteen 



or take them in to correspond with the seam after the 
alterations are made and then stitch the seams as basted. 
Before finishing the skirt at the top and turning at the 
bottom, the box-plaits must be basted and pressed into 
position and this is done by first removing the basting from 
the seams and continuing from the inside of the skirt to 
baste the two seams where the plaits are to fall out, as 
one, thus holding both the edges of the plait and the edges 
of the gores together the full length of the skirt. Press 
the seams open as stitched, turning back the two edges on 
either side. To do this without pressing the edges of the 
plait until in position, run a narrow ruler up on the inside 
of the box-plait upon which to press the seam ; dampen and 
press well. Then beginning at the top of the skirt baste 
the center of each box-plait to the center of each seam and 
press into position. Finish the top of skirt and turn the 
bottom while the plaits and seams are still basted and when 
the length is correct, press well at bottom, taking out just 
enough of the basting to finish the skirt at the bottom. 
When finished, press well around the bottom and rebaste 
box-plaits into position, being careful that their edges are 
basted so they will not extend below the bottom of the 
skirt, but just as pressed before finishing the bottom, and 
press again. 

Inverted box-plaits are also set in at the seams extend- 
ing, as a rule, not more than half way to the waistline. 
They are sometimes an equal distance from the bottom of 
skirt or may graduate. If the pattern for the plait was 
made as just described for box-plaits appearing on outside 
of skirts, and the order reversed in putting them in, the 
seams would come along the outside edges. Therefore 
make an extension on either edge of the gores the box-plait 
is to join equal to one-half the depth of the plait, making 
marks on the draft, to show just how far each plait is to ex- 
tend, before starting to make the allowance, and then make 
a plain gore similar to those joining the box-plaits as shown 
in Fig. 166, the edges of which are connected by the arrow- 
head lines. For instance, if an inverted box-plait is to be 
two inches on the double at the top and three inches at the 
bottom, then on either edge of the gores, which the plait 
goes between, at the required distance from the bottom (the 

Page Seventeen 



length of plait) make an allowance of one inch, and one and 
a half inches at their bottom outline and make the plain gore 
which goes underneath twice as wide as the allowance made 
on the large gores, or the width of the finished plait, in this 
case, two inches at the top and three inches at the bottom. 
Inverted box-plaits which do not extend to the top of the 
skirt are supported the same as side plaits let into the seams 
described in Lesson 9. 

DOUBLE BOX-PLAITED SKIRTS. 

These may of course be varied, and many pretty skirts 
are developed by the use of the double box-plaits. In some 
skirts the front gore only is a double box-plait, the others 
being plain; some have the double box-plait in both front 
and back gores, the side gores being circular or two single 
box-plaits, and again others have the double box-plait in 
front, back and side gores, with plain panels between. 

In the latter instance, take the eight-gore draft for a 
skirt with no seam in front or center back. Then to cut 
a pattern for the double box-plaited gores measure in from 
either edge of the gore at the hip line the distance the 
edge of the inside box-plait is to be from the edge of the 
outside box-plait. For example, say they are one inch apart 
at hip line and two inches at the bottom outline of skirt, 
then measure in one inch from either edge of the original 
gore on hip line and two inches at the bottom and connect 
these corresponding points, and these new lines will repre- 
sent the edges of the inside box-plait. Also draw a line 
dividing the gore lengthwise into two equal parts and trace 
the hip line Cut out the original gore and in order to 
make the allowance for the inside plaits cut along the lines 
representing the edges of the inside box-plait, pinning the 
center of the double box-plait on another piece of paper 
and the other strips as far from it on either side at the hip 
line and bottom as the depth of the plaits at those points. 
Taking the same width plait as in the box-plaited skirt — 
three-fourths inch at hip line and one and one-half inches at 
the bottom — spread the strips one and one-half inches apart 
at hip line and three inches at the bottom, being careful to 
see that the hip line of the strips on either side of the cen- 
ter piece are on a line with its hip line when the plait is fold- 
Page Eighteen 



ed in place. In the front and back gores where the depth 
above the hip line on their outside edges is the same, both of 
the outside strips are pinned the same to make the plait al- 
lowances, but on the side gore, where in most cases there is 
a difference in the depth of the outside edges, the strip on 
the side where the depth of the outside edge is the longer 
must be raised up enough to make the hip lines on it and the 
center strip the same when the plait is folded in. Likwise, 
lower the strip on the side where the depth of the outside 
edge is the shorter. Trace on the edges of the three strips of 
paper when adjusted, making an allowance for one-half the 
depth of the side box-plait at hip line and bottom on the 
outside edges of the one representing original edges of the 
gores (in this case three-fourths of an inch at hip line and 
one and one-half inches at the bottom). The other half of 
the plait must be allowed for on either edge of the plain 
gores which join these double box-plaited gores. 

Cut, baste, fit and finish as instructed for the box- 
plaited skirt. 

If the width of the material would necessitate piecing 
the box-plaited gores where the piecings would come on 
the outside of the plaits, make three pieces out of box- 
plaited gore pattern by dividing the space between the cen- 
ter strip and those on either side into two equal parts or 
fold the plait in by bringing the edges of these strips to- 
gether and cutting along the underneath fold. Then allow 
a seam on these new edges and place the pattern on the 
material so that the edges of the plaits will come on the 
straight of the goods. The dart may be marked from the 
hip line up, as indicated, or may be fitted by taking the 
dart out on the inside edge of the plait. 

Patterns for triple box-plaited skirts may be drafted 
by using the same proportions. 

IRREGULARITIES IN SKIRT DRAFTING. 
In taking skirt measurements and observing the dif- 
ferent forms one will readily see that average propor- 
tions and average measurements are not one and the 
same thing. For instance, two women may measure 
exactly the same around the hips and yet one of them 
may have acquired most of her inches across her abdo- 
men and the other across her back. The same skirt will 

Page Nineteen 



not fit them both, and if the darts were taken out without 
regard to their form, the first woman's skirt would poke 
forward and upward in front, while the second skirt 
would be short at the back. 

All irregularities must be carefully noted when tak- 
ing the measurements (the importance of which has 
already been explained), and a good way is to make 
a memorandum of the form, such as a prominent abdo- 
men, flat at back, or in front, very large hips, etc., so 
that these things may be recalled and the darts taken 
out accordingly. 

When drafting the pattern for a person with a prom- 
inent abdomen and flat back, make the second largest dart 
in front and the smallest in the back. It is well, in some 
cases, where the skirt is made of material that will shrink 
well, to cut the edges of the front gore from one-half to 
one inch longer than the front edges of the side gore when 
abdomen is very large and gather with very small stitches 
the depth of the dart and a few inches below and shrink, 
and then baste gores together as usual. 

When drafting the pattern for a person who is flat 
in front, take out a very small dart there. In some rare 
cases none is required. 

The side dart in a draft for a person with a short 
dart length will appear much larger than one with the 
same measures and a longer dart length, and vice versa. 

In some cases one will find a form whose back skirt 
length is shorter than the front length, or about the same, 
and in such cases draft the pattern as previously instructed, 
but in cutting the material, cut the back gore from three- 
fourths to an inch higher in the back, also cut the gore 
next to the back a little higher, as the waistline should 
be changed in such figures to give them a stylish appear- 
ance. To do this raise in the back and adjust the belt 
so that the skirt will dip slightly in front, then to fill 
in the hollow of the figure below the waistline in back a 
pad must be used. 

It may be necessary to trim the skirt off in front at the 
top after fitting. The dip pins or belts, which can be pur- 
chased at most any dry goods store, are a great help in hold- 
ing the skirt down to the correct position in front. In draft- 
Page Twenty 



ing the inverted plait in such cases it will be necessary to 
raise Line 33 more than one-half inch, so in drafting this 
plait, crease back on Line 16 and fold back to Line 32 
and trace along waistline of back gore (or on the line of 
allowance above waistline, as in this case), so that it will 
be sure to be long enough when the plait is adjusted. 

When a person is more developed on one side than an- 
other, draft a pattern for the larger side and pad sufficient- 
ly to make both sides alike. 

There are many things which, if carefully observed, 
will make a great difference in the set and appearance of 
one's clothes — corsets, garters, underclothes and the way one 
stands. Buy the best corsets you can afford and use good, 
strong hose supporters at the sides and front of your corsets. 
If supporters are not attached to the corset, then those that 
have a shield-shaped portion fitting over the abdomen are 
especially to be recommended to those having a round or 
prominent abdomen. Make your own lingerie, if possible, 
and see that it sets smoothly with very little, if any full- 
ness, over the hips and around the waist. 

And, above all, stand firmly on both feet, with the 
weight of the body thrown forward, your shoulders back and 
your abdomen in. Do not let your shoulders drop forward 
and your weight sag to one side. 

CHANGING DRAFTS FOR DIFFERENT FIGURES. 

Some do not care to take the time to make a separate 
pattern for each customer, especially when rushed with 
work ; therefore, when having a draft which will correspond 
in waist and hip measures from this changes may be made 
as to length and different irregularities with very good suc- 
cess, although we strongly recommend the drafting of a 
pattern for each person, unless one has had sufficient prac- 
tice and experience to make the changes so as to give the 
proper lines. 

For those who have had such practice, as stated above, 
select a draft with the same waist and hip measures as the 

Page Twenty-One 




HIP LINE 



one for whom you 
wish to revise a pat- 
tern. If the pattern 
is too long or too short 
for your purpose, it 
may be altered by 
laying plaits in it or 
slashing each por- 
tion. (See Figs. 
167 and 168.) If the 
pattern is too long, lay 
a plait the required 
depth straight across 
each gore about six 
inches below the hip 
line. This will leave 
an unevenness on the 
edges of the gores, 
which should be 
evened off when cut- 
ting. (See Fig. 167.) 
If the pattern is too 
short, slash each por- 
tion at the same dis- 
tance below the hips (six inches) and separate the pieces 
as much as necessary. (See Fig. 168.) 

If the figure you wish to fit is of average proportions, 
and they naturally stand correct, you are now ready to cut 
out the material. But for those who are not of average 
proportions and who do not stand correct, some changes 
must be made. There are those with prominent hips, slight- 
ly rounded abdomen or the decidedly prominent abdomen. 

In the first instance, that is, those with prominent hips, 
the skirt made from a pattern drafted according to instruc- 
tions for a normal form, would stand out and be too short 
at the sides. On the other forms the skirt would stand 
out and be too short at the front to a greater or less degree 
depending on the size of the abdomen. These forms are, as 
a rule, flat at the back and, as directed in the general skirt 
instructions, in such cases a small pad should be worn under 
the corset at the back. 

Page Twenty-Two 




Fig. 167. 
■\Vhen Too Long. 



Fig. 168. 
AVhen Too Short. 




For the woman with 
the prominent hips, 
select from the pat- 
tern the gore whose 
front edge comes over 
or nearest the fullest 
part of the hip and at 
the hip line in the 
back edge of the gore 
take up a dart-shaped 
plait (varying accord- 
ing to the size of the 
hips) tapering off to 
nothing three-eighths 
of an inch from the 
front edge of gore. 
(See Fig. 169.) In 
the seven gore pat- 
tern the gore to be al- 
tered would be the 
second side gore or 
the side-back gore in 
the nine-gore skirt. 
(See Fig. 169.) For the woman of the second type 
(round abdomen) take the side-front gore of your pattern 
(see Fig. 170) and alter it exactly the same way that the 
pattern was altered for prominent hips. This altera- 
tion may not seem worth while, but j^ou will find it changes 
the balance of your gore. If it is necessary, do the same 
thing to the next side gore, but do not go back of the hip. 
In making these alterations the dart-shaped plait may be 
increased, where necessary, until the back edge of the gore 
above the hip forms a straight line with the back edge below 
the hip. (See Fig. 170), but the edge must never become 
hollow or concave. 

For the woman with the prominent abdomen an al- 
lowance of an inch or so should be made on the upper edges 
of the front and side gores, tapering the allowance away to 

Page Twenty-Three 



Pig. 169. Fig. 170. 

For Prominent Hli>8. For Round Alidomen. 




nothing over the hips, unless 
pad is worn at back, in which 
case an allowance will be 
needed on all of the gores. 
(See Fig. 171.) Extending 
the gores up on their original 
lines would make the waist 
line smaller, so the side edges 
of the gores from hip line 
must be increased to keep 
waistline smaller, so the side 
edges of the gores from hip line must be increased to keep 
waistline original measure. It is a good idea to outline the 
original pattern on your material to be used, as a guide in 
fitting, but leave sufficient material around it to raise the 
waistline and widen the gores as much as may be necessary 
to fit the prominent abdomen and let the skirt drop in a 
straight line to the floor. A woman of this type should al- 
ways wear a flounced petticoat with flouncing coming well 
up in front and raising gradually at back in order to keep 
skirt from falling in at bottom. 



Fig. 171. 
For ihe Prominent Abdomen. 



VARIANCES TO THE GENERAL RULE OF 
SKIRT CUTTING. 

The general rule for cutting skirts is given in Lesson 
7, but there are exceptions to this, some of which are ex- 
plained in succeeding lessons. In plaited skirts, for reasons 
that have been given in the lesson bearing on this subject, 
arrange to have the outside edge of the plaits come as nearly 
as possible on the straight of the material. 

For example in the plaited skirt with a plait coming 
in the center of the gore( as explained in Lesson 9), cut 
so the edge of this plait will come on the straight of the 
material and in this way the plaits at the seam will be only 
slightly on the bias, whereas, if the gores were cut in the 
regular way, the allowance for the plait in the center mak- 
ing the gores quite large, the plait on one of the edges 
would be very much on the bias. 

Where stripes or plaids are used, however, either in 
the plaited or plain skirt, great care should be taken to 
match them at the seams from the hip line down. A plait 

Page Twenty-Four 



that misses connections by about one-half inch say at every 
seam all the way around is a very slipshod-looking affair 
and manifests either ignorance, carelessness or indifference. 
In stripes the lines, as a rule, run lengthwise and match 
at the seams, forming Vs. In plaids the lines run both 
lengthwise and crosswise and should match at seams. In 
cutting a skirt from a stripe or plaid, the center of the gores 
should practically come on the straight of the material. It 
is better to cut one entire side first, cutting the front gore 
first, and carefully matching the lines at the seams. Then 
remove the pattern and lay the first half of the skirt, portion 
by portion on the material, matching the stripes and plaids 
at all points, before cutting the second half. (See Figs. 
172 and 173) . In doing this be sure to place the right sides 
of the material face to face; otherwise you will have cut 
the two halves for the same side — one of the most fre- 
quent and expensive errors of the amateur seamstress. 

In cutting the front gore from striped or plaid ma^ 
terial, great care must be taken in having the center of 
the stripe or plaid in the center of the gore — otherwise 
the skirt will have a one-sided appearance. 

In using a plaid one must work slowly and with 
painstaking care. The matching is yiot diflScult and the 
result amply pays for the labor and trouble. In cutting, 
place hip line of the gores along the same section of 
plaid in each, having the center on the straight of goods 
in the front gore, and practically so in the others (see 
Fig. 173), as explained before. Of course, the plaids are 
not expected to match from the hip line up. In basting 
the skirt together, lay the gores flat on a table, following 
the general instructions, and as there will be two bias 
edges at each seam, the work must, therefore, be handled 
as deftly as possible, taking the greatest care not to 
stretch the edges. 



Page Twenty-Five 





Fig. 172. 



Fig. 173. 



Page Twenty-Six 



QUESTIONS. 

1. Explain how the depth of a plain graduated flounce 
is measured and how the flare is added. 

2. (a) Explain how to apply a plain graduated flounce 
to a skirt, (b) Mention some other ways of applying 
flounces to skirts. 

3. Briefly explain how tucks at the bottom of a skirt 
are measured for and put in. 

4. Explain how the gores are proportioned in draft- 
ing the many-gored skirts of an uneven number. 

5. What is the difference in the drafting and the cut- 
ting of a nine-gore skirt and one of eight gores that has no 
seam in the front and center-back? 

6. (a) Explain fully the proportioning of the gores 
at hip line of a skirt of an even number of gores without 
a seam in front or center-back, whose number of gores will 
necessitate dividing the hip line so that the width of each 
gore at hip line will be more than three inches, (b) When 
less than three inches. 

7. What plain gored skirt draft should be selected 
for a box-plaited skirt, what allowance for plaits is made 
and at what points on the original gores? 

8. (a) Explain how box-plaits are made and set in at 
the seams, (b) How is the allowance made for inverted 
box-plaits at the seams? 

9. Mention some models of double box-plaited skirts 
and explain how the allowance for. plaits is made in a dou- 
ble box-plaited gore. 

10. What are some of the irregularities often encoun- 
tered in skirt drafting and what should be done in such 
instances in taking the measures? 

Page Twenty- Seven 



11. In cases where the back skirt length is shorter 
or about the same as the front what should be done to give 
the skirt a more stylish appearance? 

12. What are some things which if carefully ob- 
served will greatly aid in the appearance of one's clothing? 

13. Where one does not care to take the time to draft 
a separate pattern for each patron and has had sufficient 
experience so as to give the proper lines in each case, 
what may she do? 

14. (a) Explain how to change a pattern drafted for 
a normal form with corresponding hip and waist measure 
for a person with prominent hips, (b) With round abdo- 
men, (c) With prominent abdomen. 

15. (a) In cutting a skirt from a stripe or plaid ma- 
terial, where should the center of the front gore come? (b) 
The center of the other gores? (c) How should the hip 
lines in the gores be placed in cutting from plaid materials? 



Page Twenty- Eight 



THE 

AMERICAN SYSTEM 

OF DRESSMAKING 



A Course of 

Instruction by Mail 

in the 

Science and Art 

of 

Successful 

Dressmaking 

And Ladies' Tailoring 



Lesson No. 11 



The American College of Dressmaking 

(Associated Training Schools, Proprietors. ) 

KANSAS CITY, MO., U. S. A. 



Copyrighted 1906, 1907, 1908 and 1909 
by J. M. Stelle 

Copyrighted 1910 and 1911 
b^ Associated Training Schools 



Jill rights reserved. 



Printed in the United States. 



%})t 



American s>j)0tem 
^f Bre00mafein5 

TAUGHT ONLY BY THE 

9lmertcan College of Bressmaftins 
iSlansafi Citp. JHo. 

Miss Pearl Merwin, Supervisor. 

Lesson No. 1 1. 

BANDS OR FOLDS 
Used in Trimming Skirts. 

The deep bands worn at the bottom of skirts at pres- 
ent, (see Fig. 179), are applied and finished according to 
the texture of the material. If the material is heavy 
weight, it is not necessary to line the band, or flounce, as 
it is sometimes called, but simply cut, apply to skirt and 
finish as instructed in Lesson 10. Instead of stitching the 
hem in, it may be blind-stitched, if preferred. In light 
weight fabrics the band should be lined or made of a double 
fold of material. These bands may be made any shape de- 
sired at the top, depending on one's taste and the model fol- 
lowed, marking the draft for the pattern accordingly. 

Narrow bands or folds are usually placed some little 
distance from the bottom of the skirt. They are finished 
in different ways, depending on the texture of the material, 
the amount of it one can spare for the band, etc. They 
should be cut either to fit the portion of the skirt to which 
they are to be applied, or on the true bias. To add weight, 
and also save time in lining or finishing, cut a bias strip 
twice as wide as completed fold is desired, plus one-half 
inch, and as long as required, always seaming the lengths 
together on the bias. 

Pag^e Three 



Double the strip with wrong sides together and baste 
so that one edge will be one-half inch above the other ; turn 
this extra length over the raw edge. It is now ready to 
baste and stitch on the skirt, being stitched at the top only 
with one or two rows — the first close to the edge and the 
other about three-eighths of an inch from the first. Where 
one wishes to economize in material and make the fold dou- 
ble, line it with something else, making the lining about one 
inch narrower than the band of material. Seam with the 
right side of each together, press the seam with both edges 
toward the lining and proceed as described above. 

If the material is fijm the fold may be made only one 
thickness, piped and stitched with one or two rows at both 
its upper and lower edges. Or it may be hemmed at its 
lower edge and turned and stitched at the top as described 
for the double fold. 

When the weight and texture of the material demands 
it, the fold or band is faced with crinoline and lined, as al- 
ready given for the lined fold. The band may, however, 
be stitched to the skirt at both upper and lower edges and in 
that case, of course, no lining is used. 

When the band comes at the bottom outline of the 
skirt, as in Fig. 180, put it on the same as a facing except 
that in seaming together place the right side of the band to 
the wrong side of the skirt so that the seam will come a 
trifle above the line marking the skirt length. Press the 
seam, baste along bottom outline and put on the braid, if 
one is used, as previously instructed. Next, turn in a 
seam's width at top of band, baste into position and stitch. 

SKIRTS OF BORDERED MATERIAL. 
To make a plaited or tucked skirt of material with a 
border at the bottom, the plaits or tucks will need to be laid 
in at the hip and waistline according to the measurements 
of the person for whom the skirt is intended. First, make 
a plain seven-gore skirt pattern, which will help you in de- 
termining the exact length and will be a guide in laying 
the plaits at the points mentioned. Lay off the width of 
the front, which will be according to one's taste, or the 
model followed. It is the best plan not to cut the material 
off at the waistline until the final fitting and the position of 
the band is permanent, as much more depth is required in 

Page Four 




the back of the skirt than one would suppose before laying 
the plaits. Where the plaits are to be deep, and there is 
considerable difference between the hip and waist measure, 
it is a good plan to gore the front about half way down or 
farther in order to get rid of some of this difference. Lay 
the plaits at the hip line and then continue in a straight line 
to the waistline (laying them close enough together to con- 
form to waist measure), and extend from 
the hip line down in a straight line to the 
termination of the plait. That is, divide 
the space at the hip line and the space 
where plaits are to terminate into as many 
equal parts as there are plaits. (See Fig. 
174.) Where one objects to the seams 
in goring, and the material is not so thin 
that they will show through, they may be 
made on the edge of a plait. If the ma- 
terial is thin, however, the seams may be 
covered with applique or insertion of lace 
or embroidery set in, and in this case 
also introduce some into the waist, but it 
Fig. 174. ^jij jyQi ]^Q necessary at all to have the 
trimming match that in the bordered dress pattern. 

The following instructions will illustrate how to make 
a skirt draft from various models and should enable one 
with a moderate amount of 
practice along this line to 
copy any design desired. 

In copying different 
skirt models, select as a 
foundation a plain gored 
skirt draft which will most 
nearly conform to the lines 
of the model in hand. 

One will soon find with 
experience that a great 
change in style may be ob- 
tained by varying the man- 
ner of stitching and alter- 
ing the plain pattern only ^'^- *''^- 
slightly. 

Page Five 





Take for example the skirts shown in Figs. 175 and 
176. At a glance it will be observed that the plait exten- 
sion is made on the back edge of the gores in one and the 
front edge of the other; one has scallops at the top of the 
plaits and the other a straight slanting line; in one the 
depth of the plaits grow longer as they approach the back, 
in the other they are an equal depth; in both the seams 
above the plaits are stitched back a little distance from the 
edge, but in one this stitching is toward the front from the 
line of basting and in the other toward the back. 

Each of these models is developed from a plain seven- 
gore draft and since the front gore is a trifle wider at the 
waistline than in the original draft, do not take out quite 
so much in the dart there, taking out the difference either 
at the side or back dart if a 
close fit is desired. Many 
of the skirts at present are 
not fitted in so closely from 
hip to waistline as former- 
ly, however. 

In Fig. 175 it will be 
observed that the scallops 
above the plaits on the 
front gore are a trifle more 
than half the distance 
from waistline to bottom 
outline, also that the space 
between the outer and in- 
ner plaits is a little less 
than one-fourth the width of the original gore, or less than 
half of the portion of front gore which appears on draft. 
Make points representing the top and bottom of inner plait 
accordingly and draw a line connecting them, and also draw 
the scallops following the illustration carefully. The al- 
lowance for the entire inner plait and one-half the plait on 
the edge of gore may both be made on this gore, but it will 
mean quite a saving of material to cut the outer plait sep- 
arately. The depth of the plaits should be a little more at 
the bottom than the top. The depth will depend upon the 
width one wishes the skirt to be when finished, which may 
be computed the same as given in instructions for flare 

Page Six 





Fig. 176. 



skirts. That is, subtract the width of your plain draft at 
the bottom from one-half of width the skirt is to be when 
finished and the difference will be the amount to be added 
in plaits. There are four back edges on draft in this 
model, each having two plaits, or eight plaits in one-half 
of skirt. As previously instructed, however, see to it that 
the plaits do not overlap at the bottom. 

To make the pattern, cut the front gore from the draft 
along its original lines, pin it on another piece of paper and 
trace on its front edge, waistline, back edge from waistline 
to scallop, around scallop, (being very careful to get this 
curve smooth and graceful) and along the line indicating 
the edge of the inner plait. Remove the original gore. If 
allowance for entire inner plait and one-half of outer plait 
is to be made on this gore, measure from the back edge of 
traced gore at bottom outline and the inner termination of 
scallop the entire depth the plait is to be at these points and 
make a line connecting them. From this line measure back 
at the bottom outline, also at the lower edge of scallop the 
width of the space between the plaits at these points or the 
distance from the original edge of the gore and the new line 
made on front gore, from scallop to bottom outline. Make 
a line connecting the points just made and from this line 
measure back at top and bottom of this plaited portion one- 
half the width of plait, as the other half will be allowed on 
the front edge of the gore which joins it. Do not mark the 
bottom or cut off the top of this extension until the pattern 
is folded back on the edges of the plaits, the inner one laid 
in, and the original gore placed upon it as a guide for the 
bottom. Trim along the front edge of the new gore, the 
waistline, from the waistline down along the back edge 
and around the scallop. Next lay in the plaits, place the 
original gore upon it with waistlines and edges even and 
mark the bottom outline. In cutting off the upper part of 
this plaited section, see to it that the edge of the outer plait 
is long enough to reach well under the edge of gore just 
above the scallop and be caught under the stitching. 

If the plaited section is to be cut separately, measure 
back from the back edge of the traced gore, at bottom out- 
line and inner termination of scallop, one-half the depth 
plait is to be at these points and cut on the line connecting 

Page Seven 



them. On another piece of paper, make a pattern for the 
separate plait which is done by making two hnes the length 
of the plaited section on this gore and as far apart at the 
bottom and top as the edges of the plaits are at these points. 
Then on either side of these lines make an allowance at 
top and bottom equal to one-half of depth of plait at these 
points and cut on the lines connecting them. Crease the 
pattern back on the line representing the edge of the back 
plait and trim along bottom outline. Before cutting it off 
at the top, crease the line indicating the edge of the inner 
plait on the front gore and place it on the outer plait so that 
under edges of inner plait and back plait are even, also bot- 
tom outlines, which will show just how far up this outer 
plait is to extend and so mark while in this position. 

Make the pattern for each of the other gores by either 
of the methods given, preferably the latter. In this model, 
since there is a plait in the back gore as well as the others, 
'.\ hich comes in a ways from its back edge, the back gore and 
the inverted plait must be cut separately, the stitching on 
this seam on outside of skirt terminating with the scallop. 

Place the gores on the wrong side of material so that 
their centers will come on the straight of the goods, mark- 
ing with tailors' chalk or tracing along their edges and 
lines indicating the edges of the plaits, also lines to which 
the plaits extend in forming them. The regular seam al- 
lowance will be made on the edges below scallops, but above 
the scallopvS an extra allowance will need to be made on 
account of stitching back a ways from the edge, but just 
before the curve is reached, make only a small seam allow- 
ance or else too much will be cut off from top of inner plait. 
The scallops will need to be underfaced with a piece of 
lining. (Instructions for underfacing will be given in a 
later lesson.) 

Then remove the pattern and lay the first half of the 
skirt portion by portion on the material, having them on 
the same grain and being sure that the right sides are face 
to face. Baste and finish as previously instructed. 

It will be observed in Fig. 176 that the slanting line 
at top of plait begins just a little more than half way down 
from waistline to bottom. 

In this model the space between the edges of the plaits 
Page Eight 



at top and bottom varies a trifle as in Fig. 175, it being 
a little more at the bottom and the space is less than one- 
third the width of the gores. Make points indicating top 
and bottom of the inner plait accordingly, draw a line con- 
necting them and also the slanting line from top of inner 
plait to top of plait on front edge of gore. 

As the plaits are all the same depth all the way around 
the skirt, measure down from hip line on front edge of each 
gore a distance equal to that on first side gore, also mark 
for inner plait and line indicating the edges of the outer 
plait the same as instructed above. 

Trace the front gore from the plain draft, making an 
allowance for one-half the depth of the front plait the re- 
quired length, this same allowance being made on the back 
edge of each gore. 

The allowance for the entire inner plaits and one- 
half the plait on the front edge of the gores may both be 
made on the gores, but as stated in instructions for Fig. 175, 
it is preferable to cut the outer plait separately. In either 
case, however, proceed as directed for plaits in Fig. 175. 

In this case, the back gore and inverted plait is cut in 
one. 

Cut, baste and finish the skirt as previously directed. 
It will be observed that the .stitching on outside is back of 
the line of basting and ends with the termination of slant- 
ing line at top edge of inner plait. The seam 
above plaits may be either a welt or tuck 
seam as preferred. 

To make a skirt with small tucks at the, 
top, (See Fig. 177), select any plain gored 
draft wished. Usually the fewer gored 
skirts are taken for this style such as the 
three, five and seven. This kind of a skirt 
is especially suitable for light weight ma- 
terial. They are usually fulled into the 
waist band between the tucks, indeed, this 
is necessary in wash material that will 
shrink in laundering. When drafting for a 
skirt of this kind do not take out the entire 
difference between the waist and hip meas- 
ures in darts, but leave the waistline on draft from 

Page Nine 




two inches larger than half the entire waist measure ac- 
cording to the weight and kind of material ; cut each gore 
as much wider than original gores as allowance for tucks 
will require, remembering that each tuck will take up twice 
its width in material. 

Divide the space at hip line, waistline and the space 
where tucks 
are to termin- 
at e into as 
many equal 
parts as there 
are to be tucks 
and connect 
the points with 
a line. (See 
Fig. 17 8.) 
These lines 
will represent 
the edges of 
the tucks, so in 
laying off the 
tucks arrange 
for a tuck to 
come on top of 
the seams so as 
to c n c e a 1 ^'^- "«• 

them and take into consideration the width that the tucks 
are to be when locating the position of the first tuck on 
each gore so that the space between the seam and it may be 
equal to the space between the other tucks. The length 
of the tucks may be equal all the way around skirt or 
graduated. 

When tucks are marked on one-half of the skirt, lay 
the first half on the material one piece at a time, having 
the right sides together and trace or markstitch through. 
If the tucks are to be more than one-fourth of an inch it is 
best to baste each one in before attempting to stitch. 

This skirt may be finished simply with a hem at the 
bottom, or varied by having a medium or deep fold or band 
at the bottom. If the latter, cut this band by the bottom 
of plain draft marking top of same according to instructions 

Page Ten 





Fig. 179. 



for slightly flared flounce in Lesson 10; gather the lower 
edge of skirt and baste band to it (see Fig. 179), having 
cut the portions of the upper part of skirt as much shorter 
than original draft as band is deep. Or a panel back may 
be used, the same width at top and bottom as the front 
panel, also a trimming band extending from 
the back edges of the front gore to the front 
edges of the back gore. (See second illustra- 
tion in Fig. 180). This band may run 
straight around or be raised slightly as it 
approaches the back. After making band 
the desired width and length, pin it on to 
the skirt, run a basting thread along at top 
and bottom edge, then remove band and 
gather skirt just inside the bastings so that 
the gathering threads will be concealed by 
the band. If the band is narrow and the 
material of skirt is light weight, it will not 
be necessary to cut the goods from under- 
neath the band. If this band is made of the 
same material as the skirt, it is advisable to line it with 
crinoline or canvas, depending 
upon the texture of the fabric, 
and it, like the outside, must be 
cut bias. This interlining is 
cut the exact width the band is 
to be when finished, the band be- 
ing cut an inch wider than inter- 
lining and folded over upper and 
lower edges and finishing as de- 
sired. If there is to be more 
than one row of stitching, do all 
but the very top and bottom row 
before applying to the skirt. 
After basting firmly to skirt 
along the markings, stitch. For 
narrow fold or band see first illustration in Fig. 180. 

Instead of using an applied trimming band in soft 
fabrics, such as messaline silk, foulard, crepe de Chine, etc., 
a simulated band of shirring (Fig. 181) or smocking may 
be made. It should always be tacked to a foundation. 

Page Eleven 




Fig. ISO. 




which keeps it in place, which could be cut a trifle deeper 
than the shirring and basted to the underside of skirt. In 
cutting the skirt allow extra length according to texture of 
the material and amount that will be taken up in the shir- 
ring or smocking. Shirring may also be used at the top 
of skirt in place of the tucks or skirt may 
be gathered to waist band. 

Another variation of the skirt with 
small tucks at the top is one with a deep 
flounce at the bottom which may be plaited, 
tucked, shirred or gathered. (See Fig. 182). 
These flounces are cut with little or no dif- 
ference between the top and bottom, the 
extra fullness being taken in as described. 
The deeper the flounce the more fullness will 
be required. The flounces in skil-ts of light 
weight material are often finished at the bot- 
tom with tucks, the lower part of the upper 
portion being finished in the same way. (See 
Fig. 182). Allow extra length to the gores ^^^- i*^** 
depending on the number and width of tucks used. This 
will give some additional weight to the 
skirt and greatly improve the hang of it. 

A yoke-skirt with a panel front and 
side-plaited flounce is shown in Fig. 183. 
The plaits are in clusters in first illustra- 
tion with a wide space between, the lower 
part of the yoke terminating in a point 
on either side of the front panel in this 
wide space. 

The yoke-skirt with plaited flounce is 
one of the most popular models and may 
be made of any of the medium weight 
skirt materials that will retain the plaits 
The yoke may be in one, two, or more pieces 
as desired, also shaped at the lower edge to suit one's taste, 
in points, scallops or straight around as in second illustra- 
tion of Fig. 183. Also the plaits may be side-plaited with 
Page Twelve 




Fig. 182. 

satisfactorily. 




the same width space between, also shown in this same 
illustration, or box-plaited. 

If a panel front is wished, trace front gore from the 
plain seven-ffore draft making an allowance at its back 
edge, beginning where yoke and flounce join, equal to one- 
half depth of plait. It will be observed that in front the 
point where yoke and flounce 
join is a little less than half 
the distance from waistline 
to bottom outline. Make a 
point here and draw a line 
from it raising slightly as it 
approaches the back. This 
line marks the top of flounce 
and lower edge of upper part 
of skirt. Trace the flounce 
and yoke portions off accord- 
ingly. To make a pattern 
for the plaited flounce divide 
the space equally at top and 
bottom of the plain flounce 
portion, marking the divisions 
with a small dot and connect with lines. (See Fig. 184). 
The closer the plaits are together, the more divisions there 
will be, of course, and this will be your guide in marking 
the distance between them on the pattern. If some of the 
spaces are to be wider than others, as in first illustration in 
Fig. 183, take this into consideration when marking off 
for the plaits and the spaces, in making pattern for flounce. 
Next take a piece of paper about as wide as three-fourths 
the skirt length and as long as obtainable. Draw a line 
about two inches from its right edge as long as the first 
plait in the flounce, making an allowance to the right of 
this line at top and bottom equal to one-half of the depth 
of plait. Next, measure to the left the distance the plaits 
are to be apart both at top and bottom and make a line 
connecting these points. This line will mark the edge of 
the first plait. Then measure from this line to the left 

Page Thirteen 



Fig. 183. 



the entire depth the plait is to be at top and bottom and 
draw a line connecting them. This is the line to which 
the edge of the plait is to be brought in forming it, so crease 
the pattern back on the second line and bring it over so 
that the fold will lie along this line and smooth 
down flat and the fold thus formed will be the under edge 
of the plait. Continue in this way to measure to the left 
until you have made as many spaces and plaits as are shown 
by the lines on the plain flounce portion you are following 
(see Fig. 184), and after they are all folded in, being well 
creased so that 
they will lie 
flat, place the 
plain flounce 
portion upon 
it having its 
right edge ex- 
actly even with 
the first line 
on the plaited 
pattern which 
is where the 
edge of the 
plait on back 
of front gore 
will come, and 
cut at top and 
bottom. If the 
plaits and 
space between 

them were measured correctly and the plaits carefully 
folded, the lines and plaits in the plain and plaited portions 
should come out exactly alike, also the same at their back 
and front edges. 

Make the upper portion of skirt which will be cut in 
four pieces according to instructions already given for the 
three-piece skirt yoke. You will observe that the panel 
Page Fourteen 




Fig. 184. 



divides what would have otherwise been a three-piece yoke 
into four pieces. (See Fig. 183.) Beginning at the point 
on the back edge of the front gore or panel front where 
flounce and upper portions join make an allowance equal to 
one-half the width of the plait. 

First pin the panel front pattern on the material with 
its front edge on a lengthwise fold of the goods, marking 
along the waistline and back edge to point marking top of 
flounce, then fold the pattern back along the line which 
represented the original edge of the front gore or the one 
which now indicates the edge of the first plait, and mark 
along the fold. Now smooth the pattern back and mark 
along the back edge. 

Next pin the sections of upper part of skirt on to the 
folded material having the front edge of each on the 
straight of goods. Mark along the edges. 

Now smooth out the plaited portion and trace along 
the lines. (If the goods will not show tracing, mark- 
stitch.) Then pin it on to the folded material with its 
front edge on the straight of goods. If the material is not 
wide enough, piece so that the seam will come at the under- 
neath edge of a plait, joining a straight edge to the bias 
edge of plait. Of course, where the plaits are straight or 
little enough difference between top and bottom to join two 
straight edges and this seam be entirely concealed by the 
plait, so much the better. Begin by placing pins just in 
front of the first, line so that the pattern' may be folded 
back on the tracing and mark along the fold, continuing in 
this way until the edge of the inverted plait is reached. 
Mark along back edge, also top and bottom outline. Cut 
the different sections allowing for both the seams and finish. 
Remove the pattern carefully, repinning the sections to- 
gether again as you do so, markstitch along the lines, and 
cut apart. 

Page Fifteen 




Fls. 185. 



Turn back the edges of the 
panel front on markings and 
baste, then baste to the front 
edges of the first side gores, 
continue the basting of the up- 
per portion. Next baste the 
plaits in the flounce. For the 
laying of side plaits see Fig. 
185. 

Next, pin the lower part of 

the front gore to the front edges 

of the flounce and the lower edge 

of the upper skirt portion on to 

the upper edge of flounce and 

baste, fit and stitch. Do whatever stitch- 
ing there is to be done on the outside of 
skirt before basting and stitching the back 
seam. After doing this, finish the placket, 
belt and bottom, instructions for which 
have been previously given. 

An effective model is 
shown in Fig. 186 which 
consists of seven-gore skirt 
with an inverted plait or in 
habit style at the back. 
This upper portion is 
lengthened by the plaited 
flounce. It will be observed 
that the joining of upper 
skirt and flounce portions 
is irregular in outline. The 
upper portion in front and 
back extending from waist- 
line a little more than 
three-fourths its entire length, at the side about half its 
length, another break being made between front and side 
and side and back on sidefront and sideback gores respect- 
Page Sixteen 




Fig. 186. 




ively. (See Figs. 186 and 187.) 
In a skirt with a full plaited 
flounce so long as there is little 
difference in the space be- 
tween the plaits at tl 
top and bottom extrem 
ity, in some cases it 
will be necessary 
take off a little 
of the flare on 
the plain draft /' 
by making the 
width of back 
gore at the 
bottom the 
same as the 

Fig. 187. 

front, drawing 

a new line from bottom to waistline indicating its back 
edge and then adding the inverted plait if one is used. In 
fact, the plain skirt draft must be taken from or added to 
at the bottom to preserve the uniformity of the plaits in 
making the pattern so as to correspond to the model fol- 
lowed. (See dotted lines Fig. 187 for original inverted 
plait, and back edge of back gore.) 

Draw light lines at first indicating the broken outline 
at top of flounce and bottom of upper portion. (See Fig. 
187.) To make this outline draw a line straight across 
the front gore a little more than three-fourths the entire 
length of skirt from the waistline and a similar line across 
back gore. Then draw other cross lines from the back 
edge of the front gore and the front edge of the back gore, 
beginning on these lines a little more than the distance 
represented by the length of the first cross lines, making 
them the same length. The third cross line is the same dis- 
tance from the second that the second is from the first and 

Page Seventeen 



the same length plus the width of a plait at its top extrem- 
ity. Next draw lines from the ends of this third cross line 
connecting them with the ends of the second cross lines. 
(See Fig. 187.) Also make an equal number of points on 
this outline and bottom outline representing the edges of 
the plaits and when correct put lines in accordingly. By 
referring to the illustration it will be seen that the edge of a 
plait comes in a line with the edge of each gore, two plaits 
coming in front of the back edge of the front gore, also 
two in front of back edge of back gore and four plaits be- 
tween the edges of the side gores. 

To make the pattern for the plaited flounce take a piece 
of paper as wide as the flounce is deep at its deepest point 
— the side — and measure up from the bottom of its straight 
right edge a distance equal to the first cross line on draft. 
Next measure to the left the distance the edge of first plait 
is at top and bottom from center of front gore and make a 
line connecting the points. Then measure from this line 
to the left the entire depth the plait is to be at top and bot- 
tom making dots and drawing a line connecting them. This 
is the line to which the edge of the plait is to be brought in 
forming it. Continue with the instructions for plaited 
flounce pattern given for Fig. 183 in this lesson. 

Trace the gores for upper skirt portion from the draft, 
cut and markstitch them together with flounce as previ- 
ously directed. 

The skirt may be finished at the joining of the flounce 
with a trimming band as shown in left illustration in Fig. 
186, by machine-stitching, as in right illustration, braid, 
strap or insertion. This model skirt is a companion with 
waist described in Lesson 5 and shown in Fig. 91. 

The upper portion of this skirt may be made from 
any other plain gored draft as well as the seven-gore. For 
dressy occasions a pleasing effect is obtained by making the 
Page Eighteen 



skirt in any of the soft silks with a short sweep and covering 
the upper portion with chiffon in the same shade, cutting it 
either circular or three-piece and gathering into the band 
and at the lower edge to follow the outline, making allow- 
ance for the gathers when cutting from the plain pattern. 
Bands of the silk may be used in finishing top of flounce 
and trimming the waist. 

The skirt with a plaited or gathered flounce of medium 
depth makes a good foundation for a skirt with a tunic, 
then when the overskirt goes out of fashion it may be re- 
moved without in any way effecting the usefulness of the 
skirt. 

TUNIC OR OVERSKIRT. 

The tunic or overskirt of some kind is a very practical 
feature worthy of consideration because of the opportunity 
it provides for artistic effects in drapery, as well as that 
of making over a dress already on hands, and thus bringing 




Fig. 1S8. Tunic or Overskirt. 

Page Nineteen 



it up-to-date. It is cut circular and can be varied in many 
ways at the bottom. To draft a pattern lay the gores of 
the seven-gore skirt together with the hip lines of each gore 
just touching each other. Arrange the front and first side 
gore so that there will be a small dart between them from 
hip to waistline ; also arrange the first and second side gores 
so that the dart will be just a little larger than the one be- 
tween front and first side gore. (See Fig. 188.) The in- 
verted plait may or may not be used. It is not used in the 
illustration. Frequently a double-box plait is used instead 
of the inverted plait, whichever one is preferred. The flare 
below the hip line will depend on how much width or ripple 
is wanted in the overskirt. The dotted curved line repre- 
sents an overskirt with a point in the back and slopes to 
much less depth in the front. The solid line represents an 
overskirt cut with a point each in the front and back, slop- 
ing up to less depth at the side. 

If the overdress is to be made in one piece, lay the pat- 
tern with the center front on a lengthwise fold and the piec- 
ing will come toward the back, where it will be less conspic- 
uous. If these piecings are not desired, they can be obviat- 
ed by having a seam down the center front by laying the 
front gore on the selvage. In some material this seam can 
be made almost invisible, while in others an inset band of 
lace, embroidered net or other trimming does away with 
a visible seaming as well as adds to the attractiveness of 
the gown. When using silks or narrow material the center 
front seam will be found more satisfactory. After cutting, 
take up the darts and press very carefully. In closing the 
back seam use a ribbon tape to bind it; otherwise as it is 
bias, it would soon stretch out of shape. Do not stitch the 
entire length, but leave an opening for the placket. Fit 
the overdress over the skirt and baste the edges at the top 
to the edges of the skirt in the proper position, and then 
put on the skirt band. 
Pag"e Twenty 



That part of the dress skirt that extends up under the 
overskirt may be made of lining material if the overdress 
is not transparent. It can be cut circular also, and made to 
follow the outline of the overskirt at the bottom. The low- 
er part of dress skirt is then attached to this lining. It may 
be made plain or put on in the shape of a flounce, plaited, 
shirred or in any way desired. 

You will find in Fig. 189 a 
very pretty version of the plait- 
ed skirt which is simple in con- 
struction. It consists of four 
long gores and four shorter 
ones, lengthened by plaited 
sections. These plaited sec- 
tions are joined to the sidefront 
and sideback gores. 

For the pattern draft a 
plain nine-gored skirt, cutting 
back gore as instructed for an 
eight-gore skirt which was ex- 
plained in Lesson 10. 

The shorter gores each ex- 
tend about two-thirds the length of the entire skirt and 
terminate in a deep point, therefore, mark off these gores 
accordingly on the draft. Also draw lines representing 
the edges of the plaits, — the first from the point to a dot 
marking the center of the gore at the 
bottom outline, making another line 
midway between this one and either 
edge of gore. (See Fig. 189.) 

It will be observed that the two 
plaits nearest the front edge of each sec- 
tion turn toward the back, while the 
other two turn toward the front, there- 
fore, in making the pattern for this 
plaited section remember to allow for an 

inverted box-plait at the line indicating the center. These 

sections are all the same length. 

Cut the 'plain gores and plaited sections as already 

Page Twenty-One 




Fig, ISO. 




Fig. 190. 




Pig. 191. 



directed. An allowance of one-half the width of the plaits 
must be made on either edge of the gores beginning at a 
point where the plaited section joins them. 

After the cutting and markstitching, 
or tracing has been done, first lay the 
plaits, (see Fig. 190) and baste them in. 
These plaited sections are then joined to 
the sidefront and sideback gores by turn- 
ing under the lower edge of the plain 
gores, being sure to lap them just as was 
allowed for in cutting, so that the length 
will not be effected. The two are stitched 
together from one-fourth to three-eighths 
of an inch from the lower edge of the plain 
portion and after this is done, press well, 
baste the gores together, (see Fig. 191) 
fit and stitch the seams only as far as the plaited sections, 
taking up the seams farther out along their edges in order 
to make the plait on either side (see basting along left edge 
of Fig. 191). 

Finish top and bottom and seams as previously in- 
structed. The points may be finished simply with the ma- 
chine stitching, or braiding, embroidery or buttons used as 
a trimming. 

Other styles may be devel- 
oped by terminating the lower 
edges of the sidefront and side 
back gores in a large scallop or 
two smaller ones instead of the 
point, making the plaited sec- 
tions longer than the plain por- 
tions which they join and in that 
case stitching each plait from 
two and one-half to three inches 
from the top of plaited section 
and about one-fourth of an 
inch from their edges. Also 
stitch front, side and back gores 
on the outside of skirt the same distance from their edges 
as the plaits were stitched, terminating the stitching with 

Page Twenty-Two 




Pig. 192. 



that on the plaited sections. Then take up the seams from 
the inside and stitch on down to bottom of skirt. 

Or, the plaited sections may be composed of side-plaits 
turning toward the back and made longer as they approach 
the back of skirt, the top being finished in a straight line, 
slanting upward. See to it that the top of the plaited sec- 
tions in the side front gores is on a line with top of these 
sections in side back gores. That is, if a line were drawn 
through the side gore from 
the top and back edge of one 
plaited section to the top and 
front edge of the other on 
same side of skirt this line 
would show a smooth, grad- 
ual raise. 

Skirt models shown in 
illustrations 192 and 193 each 
have side gores a trifle irreg- 
ular in outline. At a glance 
one might take them to be 
the same design, but upon 
studying them it will be observed that the first (Fig. 
192) has no plaits with the exception of the one on either 
side and the inverted plait in center back, while in the sec- 
ond (Fig. 193) there Is a plaited section on either side of 
the skirt, consisting of an inverted box-plait with a side 
plait on the edges of the gores joining this plaited section; 
also an inward turning plait on either side of the inverted 
plait at center back. It will also be observed that in Fig. 
192 the side front gore extends over upon the side back 
gore about one-fourth the length of the skirt from waist- 
line, while in Fig. 193 the same thing is true as to the side- 
back gore, but this extension comes farther down being 
something less than one-half the side length, also there is 
a short slanting line on the side back gore which meets the 

Page Twenty-Three 




Fig. 193. 



slanting line in side front gore in the center. The effect 
of one gore being buttoned to the other may be given by 
sewing on buttons and making simulated buttonholes of 
braid or other material. 

For the pattern of each of these designs use the seven- 
gore draft. 

Little change will need to be made in the original draft 
in developing Fig. 192, In fact, the only change necessary 
in the outline 
of the gores 
will be that at 
the upper part 
and back of 
side front 
gore. (See Fig. 
194.) Arrow- 
head lines No. 

1 indicate the 
edges of this 
gore and No. 

2 the edges of, 
the side back 
gore. 

In prepar- 
ing a skirt pat- 
tern, if the 
lines of the 
plain draft at 
the bottom, together with whatever plaits may be added, 
will not make it the desired width at the bottom when fin- 
ished, then add to or take from the foundation draft accord- 
ingly. For instance, if very straight lines are wished in 
Fig. 192 draw the front edges of the side front, side back 
and back gores according to the broken lines and then take 
out the darts on either side of them. 

The plait on Line 8 is an inverted box-plait and since 
it is at the side will be made from one-third to half the 
width of plait at the center back. An allowance for half 
the width of this plait may be made on the back edge of the 
side front gore and the front edge of the side back gore be- 
ginning a seam's width above the lower end of slanting 

Page Twenty-Four 




Fig. 194. 



line. This method of forming the plait would bring the 
seam directly under the edge of the gores to which it is 
added just as the one in center back. Say the width of the 
plait at its upper extremity is two inches and at the bottom 
outline four inches on the double, then add two inches to 
either edge of gores at the point where plait is to begin 
and four inches on either edge of the gores at the bottom 
outline and connect the points with a line. There is an- 
other way to make this plait which would be a saving of 
material and also be a means of concealing the seams un- 
derneath. Taking for example, the same width plait as 
given above, add one inch on either edge of gore at upper 
extremity of plait and two inches at the bottom outline, 
then make a plain gore to meet these edges the width of 
the plait at top and bottom; that is, two inches at the top 
in this case and four inches at the bottom. This gore is 
made just in the same way that the plain gore joining the 
edges of the box-plaits in a full box-plaited skirt is made, 
which is explained in Lesson 10. (See arrow-head lines 
marking the edges of this gore in Fig. 166. 

Cut and markstitch the gores, allowing for seams, 
plaits and finish as already explained. If the plain gore is 
used underneath the edges of plaits at the sides, mark its 
center so that the outside, edges of the plaits may be basted 
to it in forming the plaits. Otherwise they will be formed 
the same as the inverted plait in the back. Turn back the 
front edges of the side front gores and baste on to the 
front gore. Also, turn back the back edges of these gores 
from waistline to the plait, pinning to side back gore at 
point where plait begins and having their edges together, at 
waistline, baste into position, (see dotted line in Fig. 194) ; 
then turn the edges of the gores from top to bottom of the 
plait and baste it into position. Next turn back the back 
edges of the side back gores and baste to the back gores, 
also baste the inverted plait into position. 

Stitch the skirt after fitting as shown in the illustration 
and finish as already directed. 

Make a pattern for Fig. 193 by drawing lines on the 
plain seven-gore draft as shown in Fig. 195. Make allow- 
ance for the plaited section at the side the same as described 
for Fig. 189 except there is only one plait on either side of 

Page Twenty-Five 




the inverted plait in the center of this section instead of two. 
Also, allowance for an entire plait is made along the line 
at the right of Line 16 in Fig. 195. The lines of the back 
gore may be 
s t r a ightened 
to conform to 
the lines of the 
illustration by 
taking off 
some of its 
width at the 
bottom and ta- 
pering up to- 
ward waistline 
as shown by 
dotted line in 
Fig. 195 and 
then taking 
the dart out 
on either side 
of this line. 

The front 
gore may be 
cut from the draft as it is, the edges of the side front gore 
are indicated by arrow-head Lines 1, Lines 2 edges of side- 
back gore, and Lines 3 and 4 the back gore and inverted 
plait, respectively. Arrow-head Lines 5 show the edges 
of the plaited section. 

After cutting and markstitching the gores, baste the 
plaits in plaited sections into position having the two inner 
plaits turn toward each other on Line 8. (See Fig. 195.) 
Also baste plaits into position in the back gores. Turn back 
the back edges of the side front gores from waistline to 
bottom of slanting line at the top of plaited section and 
from this point on down the edges of plait to the bottom. 
Next, turn along the edge of the plait at the front edge of 
side back gore and the short slanting line extending to the 
center of plaited section or Line 8. 

Baste the gores, fit and stitch as shown in the illus- 
tration. 

In copying design shown in Fig. 196 as has been prev- 
Page Twenty-Six 



Fig. 195. 




Fig. 196. 



iously stated, select a draft which will most nearly conform 
with the main lines, which is the seven-gore. 

The front and back gores are double box-plaits. On 
either side of the front and back gores are 
joined irregular shaped gores the edges of 
which extend in a straight line a little 
more than half the length of skirt and as 
far from the edges of front and back gores 
as the edge of the outer plait in these gores 
is from the inner. They then extend about 
a third of the way across the bottom of 
the circular side gores (which are also a 
little more than half the length of the 
skirt) in a graceful curve and termin- 
ate in a straight line along the plaited sec- 
tion of three single box-plaits. Stitched 
straps extend across these irreg- 
ular gores, the first couplet about one-third of the distance 
from where these gores join the circular gores to the bot- 
tom outline and the sec- 
ond couplet about two- 
thirds this distance. The 
top strap in each cou- 
plet is finished off in a 
point. These straps, it 
will be seen by the il- 
lustration, are a trifle 
wider than the single 
box-plaits at the bottom. 

First, make a plain 
seven-gore draft and 
draw the lines to con- 
form to the edges of the 
gores in model shown in 
Fig. 196. In marking 
Page Twenty-Seven 




Fig. 196-A. 



off for the group of three single box-plaits see that the 
center of the middle plait comes on Line 8 of the seven-gore 
draft. (See broken line in Fig. 196-A.) Arrow-head Lines 
1 and 2 indicate the edges of front and back gores respect- 
ively. 

Trace the gores from the draft making pattern for 
front and back gores according to instructions given for 
double box-plaits in Lesson 10. Then on either edge of 
the irregular gores which join the front and back gores 
make an allowance of one-half the depth of the plait. 

In the group of three single box-plaits at the side, make 
them from two to two and one-half inches at the bottom 
and one and one-half to one and three-fourths at the top. 
Along the two outer lines make allowance for one-half the 
depth of plait at top and bottom and an allowance for the 
entire inverted box-plait along the two inner lines. 

Cut and markstitch the gores as previously directed, 
making allowance for seams and the finish. 

First baste the inner plaits in the front and back gores 
in position, also turn the edges back along the lines indi- 
cating the edge of the outer plaits on these gores and baste. 

Next, underface the curved part of the irregular gores, 
turn along this curve continuing on straight edge to waist- 
line and baste the front and back gores onto these gores. 

The dart is taken up in the circular side gores and the 
irregular gores basted upon them. 

Next, baste the single box-plaits into position in the 
plaited sections, turn under the edges at top to form the 
points and along the sides and baste between the irregular 
gores on either side according to the markstitching. In 
doing this see that the lines indicating the bottom marks 
are together. The upper part of this plaited section will 
extend up a ways on the side gore, the middle of the center 
Page Twenty-Eight 



one of the group being directly under the dart over the hip. 
This will conclude the basting. 

Try the skirt on and after making any changes neces- 
sary and getting the bottom length, open the skirt at the 
right side of back gore to do the stitching on outside of 
skirt. Before stitching, however, make the straps as shown 
in Fig. 196 and put them on. 

Stitch, press and finish as directed for plaited skirts. 
The points on straps and top of each single box-plait are 
finished with a button. 



Page Twenty-Nine 



QUESTIONS. 

1. Tell how to apply deep bands to the bottom of 
skirts. 

2. (a) How are narrow bands cut for skirts? (b) 
When one wishes to add weight to the bottom of a skirt, 
and save time in lining and finishing the band, how is it 
cut and applied? 

3. (a) Explain how band shown in the first illustra- 
tion of Fig. 180 is applied, (b) How are skirts of bordered 
material made? (c) If one objects to the seams in goring 
what may be done to conceal them? 

4. (a) In copying different skirts models, what 
foundation draft should be used? (b) How may a skirt 
design be changed? (c) How do models shown in Figs. 
175 and 176 vary and what draft is used for their founda- 
tion? 

5. (a) Explain what additional lines are made on 
the seven-gore foundation draft in making a pattern for Fig. 
175. For 176. (b) Explain two ways of allowing for 
the plaits in Figs. 175 and 176. (c) Why is it necessary 
in Fig.. 175 to cut the back gore and the inverted plait 
separately? 

6. (a) What skirt drafts are usually selected for one 
with small tucks at the top ? (b) How is the allowance for 
tucks made in the gores? (c) How are the lines represent- 
ing the edges of the tucks made? 

7. (a) Explain how a band similar to that shown 
in the second illustration in Fig. 180, of the same material 
as the skirt, is made and applied, (b) In soft fabrics what 
may take the place of an applied trimming band? 

Page Thirty 



8. (a) Explain how a flounce, as shown in Fig. 182, 
is cut and applied, (b) How is the allowance made on the 
gores when their lower edges are finished with tucks ? 

9. (a) How may the upper part of a yoke-skirt be 
cut? (b) If the flounce is plaited how may the plaits be 
laid? 

10. (a) Where should the line marking the lower 
edge of the upper portion and the upper edge of the flounce 
begin and how is it drawn as it approaches the back? (b) 
Explain how the lines on the flounce portion edges of the 
plaits in Fig. 184 are measured for and put in on the draft. 

11. (a) Tell how to make a pattern for the flounce 
from the draft, (b) How is the piecing done in flounce 
where the material is not wide enough ? (c) How does the 
upper edge of flounce in Fig. 186 differ from that in Fig. 
184? 

12. (a) Where there is little difference in the space 
between the plaits at their top and bottom extremity, what 
change is made in the foundation draft? (b) In marking 
the draft for the flounce portion of Fig. 186, where should 
the edges of the plaits come? (c) How may model shown 
in Fig. 186 be varied in making a skirt for dressy occasions? 
What model skirt makes a good foundation for a tunic? 

13. (a) How is the pattern made for the tunic or 
overskirt? (b) Explain how a one-piece tunic with and 
without piecings is cut. (c) If a seam is made in the 
center front of tunic how may it be concealed ? 

14. (a) How many gores are in the model shown in 
Fig. 189? (b) What draft is used in cutting it? (c) 
How do the plaits turn in the plaited section? 

Page Thirty-One 



15. (a) After laying the plaits, what is the next 
step in putting the skirt together? (b) What variation 
may be made in the plaited sections? 

16. (a) What points of difference are there in models 
shown in Figs. 192 and 193? (b) What foundation draft 
is used in developing them? 

17. (a) In preparing a pattern for Fig. 192 what 
changes will need to be made in the plain seven-gore draft? 
(b) How will the inverted plait on Line 8, Fig. 194, com- 
pare with that at center back? 

18. (a) How may the lines of the back gore in Fig. 
193 be straightened? (b) Explain how the front gore is 
cut from the draft, (c) Name the lines indicating the 
edges of the other gores. 

19. (a) What foundation draft is selected in develop- 
ing model shown in Fig. 196? (b) What kind of gores 
are the front and back? 

20. (a) In marking off the single box-plaited section 
on the draft, where should the center of the middle plait 
come? (b) Explain in the proper order how this skirt is 
basted together. 



Page Thirty-Two 



THE 

AMERICAN SYSTEM 

OF DRESSMAKING 



A Course of 

Instruction by Mail 

in the 

Science and Art 

of 

Successful 

Dressmaking 

And Ladies' Tailoring 



Lesson No. 12 



The American College of Dressmaking 

(Associated Training Schools, Proprietors. ) 

KANSAS CITY, MO., U. S. A. 



Copyrighted 1906, 1907, 1908 and 1909 
■ by J. M. Stelle 

Copyrighted 19W and 1911 
by Associated Training Schools 



^11 rights reserved. 



'Printed in the United States. 



%i)t 



American S)j)0tem 
of 29re00mafemg 

TAUGHT ONLY BY THE 

American College of Bressmafeing 
Kansas Citp, JHo. 

Miss Pearl Merwin, Supervisor. 

Lesson No. 12 

TAILOR-MADE SUITS. 

Until recent years it was considered impractical for 
the home dressmaker to attempt the making of a tailor- 
made suit or gown, but now with increased facilities and 
reliable information, the amateur can produce some very 
creditable results. By observing every detail, however 
small, and following the rules carefully to the very letter, 
she will accomplish results which will be both pleasing to 
herself and friends. 

The work is not so much greater in a tailor-made suit 
than in a draped gown, except the basting, pressing and 
fitting, which must be carefully done, giving each and every 
part its proper consideration. Much depends upon the 
basting and the size of the stitches. Use a very small 
running stitch so that the seams will not gap and the waist 
will set well down to the form. 

The cloth must always be shrunken and sponged be- 
fore it is cut out. Your dealer will probably do this for 
you at a slight extra cost per yard. However, in case you 
have it to do yourself, the following method may be em- 
ployed when shrinking heavy goods: Use a piece of un- 
bleached muslin about one yard longer than the cloth; also 
use a board from eight to ten inches wide and a little 

Page Three 



longer than the cloth is wide. Dip the muslin in water 
until it is thoroughly wet and then wring as dry as pos- 
sible and spread it out on a large table, smoothing out all 
the wrinkles. Lay the cloth on the wet muslin, first tear- 
ing the selvage off and, if double width goods, leave it 
folded through the center lengthwise so the right sides will 
face each other. Adjust the muslin at the ends of the board 
so that when rolling the cloth on the board the cloth will 
not touch itself. Roll up smoothly on the board, watch- 
ing closely to keep out wrinkles, and leave it rolled from 
two to four hours. Unroll and spread it out on a table or 
some smooth surface to thoroughly dry. You do not have 
to use the hot iron in this method, which makes it more 
preferable than in any other way, although it requires a 
little more time and care. 

If you prefer to use the iron, follow this method : Use 
a large, long table that will not be injured by water, and 
a piece of unbleached muslin about a yard wide and two 
yards long. Place a large ironing blanket upon the table, 
being careful to smooth out all the wrinkles. Lay one 
end of the goods, if single width, right side down upon 
the blanket, and dip the muslin in water, and then wring 
as dry as possible and place over the cloth. Run the iron 
over this several times, then remove the muslin and press 
the goods until almost dry. Shrink only a small portion 
^t a time, moving the material until the full length has 
)een sponged and pressed. Wet the muslin each time you 
put it on the material. Leave double width goods folded 
with the right sides turned in, and if it is very heavy 
and the steaming process does not go through the second 
fold, repeat the process on the other side after finishing 
one side. 

For colored fabrics that may spot or fade when wet, 
put a handful of salt, or enough vinegar to taste slightly 
acid in the water. When pressing the thinner materials, 
'")e careful not to draw or stretch either side, but keep 
the threads straight in both the length and width. Canvas 
or haircloth used for interlining must always be shrunk 
before using it. 

In sponging material of double width let it remain 
folded during the process, with the right side turned in. 

Page Four 



If the material is very heavy it may be turned to the other 
side and the sponging repeated. 

Some of the thin weaves of woolen fabrics cannot be 
shrunken, for the steam sometiems shrivels and over-shrinks 
them. Experiment first with a small piece of the material, 
and if water cannot be used, press with a moderately 
warm iron. 

To prevent the seam edges from being printed on the 
right side when pressing them, lay the open seam along the 
curved edge of an ordinary ironing-board and press care- 
fully. The shine that sometimes comes in pressing may be 
removed by placing two cloths over the shiny place. The 
one next to the material should be dry, and the second one 
wet, but wrung out as dry as possible. Press lightly with 
a hot iron. 

Most woolen materials have a nap or pile. This is 
caused by the ends of the fibers which form the yarn pro- 
truding from the fabric. As these ends do not stand 
straight out, but lie on the slant and lap over each other, 
two pieces of goods sewed together must have the nap 
running the same way, or they will have a different sheen 
or color and look like two different pieces of material. To 
find which way the nap runs put the goods on the table with 
the right or face side up and rub lightly up and down with 
the inside of the hand. When the hand moves down the 
goods in the same direction as the ends of the fibers the 
goods will appear smooth; but when the hand is moved in 
the opposite direction it will strike the ends of the fibers 
and the goods will appear rough. The nap should run down 
in all garments with the exception of velvets, so that when 
the clothes are brushed the dust will be forced out of the 
goods, for if it is brushed against the nap the dust will be 
driven in. 

DRAFTING A SEMI-FITTING COAT. 

In the model shown in Fig. 197 we have used the same 
measurements as given for the model draft in Lesson 2. 
and a 36-inch hip measure. The measurements are taken 
the same as given in that lesson but for a semi-fitting coat, 
two inches must be added to the bust measure, five inches 
to the waist measure and two inches to the hip measure. 
For this character of coat we will use the two-piece back 
and one dart front. 

Page Five 




Fig. 1»7. 



Draw Lines 1 and 2 and locate points 
A, B, C, D, E and F just as given in model 
draft in Lesson 2. Line 3 is drawn in the 
same manner also, but as two inches must 
be added to the bust measure, making it 
thirty-eight inches, Line 3 will be nineteen 
inches in length instead of eighteen. Locate 
points H, J, K and L as before, also Lines 4, 5, 

6, 7, 8, 9, 10, 11, 12 and 13 and points M, N, 
0, P, Q, R, S and T. When drawing the armhole curves 
draw them to a point half way between J and L, and H and 
K, respectively. (See Fig. 198.) The length of Line 13 
from Line 8 is determined by one-third of the length 
from G to J plus one-half inch and U is placed at this point. 
A semi-fitting coat hangs from the bust rather than from 
the waist and it is for this reason that we use one-third 
of the distance from G to J; likewise the back also. V is 
the midway point of Line 6 from O to P. Line 14 is 
drawn straight from U to V and W is placed at the point 
where it crosses Line 12. Line 15 is drawn straight down 
from L the length of underarm measure, and Line 16 is the 
waistline from X to lower end of Line 15. 

X is one-half inch to the left of F, and the distance from 
X to Y is determined by using one-third of the length from 
D to H, plus one-half inch. Z is the mid-way point of Line 

7, aa is one and one-half inches to the left of Y, bb is one- 
half inch to the right of lower end of Line 15 and cc is one 
inch to the left of end of Line 15. Place long arm of 
square so that it will touch Y and Z and make I at the 
point where it crosses Line 3. (See Fig. 198.) Then draw 
a straight line from I to Z. 

Next, place square so that A will fall on Y and edge on 
I and draw Line 18 from Y to I. Move square up so that 
A will fall on I and edge of armhole curve on aa and draw 
Line 19 from aa to I. Move square down again so that A 
will come on bb and edge on L and draw Line 20 from bb to 
L. Move square up again so that A will fall on L and edge 
of armhole curve on cc and draw Line 21 from cc to L. 
Measure waistline by measuring Line 13 from Line 8 to U, 
also from bb to aa and from Y to X. In this case it meas- 

Page Six 




FIG. 108 



ures ten and one-eighth inches, therefore place the ten and 
one-eighth inch mark on square on cc and measure to the 
left and make a dot at the point indicating one-half the 
waist measure, which in this case is fourteen and one-half 
inches, as we must add five inches to the original waist 
measure, which was twenty-four, and the five additional 
makes twenty-nine ; one-half of twenty-nine is fourteen and 
one-half. Hold square firmly with the ten and one-eighth 
inch mark on cc with right hand and move end of square 
down with left hand until the distance from W to this point 
is one-quarter of an inch less than the distance from W to 
U and make dd at this point. (See Fig. 198.) This is done 
in the same manner as given for model draft in Lesson 2. 
Draw Line 22 from dd to W by placing A Curve on W and 
letting armhole edge of square touch dd ; also draw Line 23 
from cc to dd by placing A on cc and edge of square on dd. 
Draw a short curved line at W to eliminate the pointed 
effect there. (See dotted line at W in Fig. 198.) 

The draft is now ready to add the collar and lapels. 
Usually the lapels of a semi-fitting coat extend to a point 
about midway between bust and waistlines. In this model 
we have allowed the same distance as from Line 8 to U for 
the lapping in front, but more or less may be added accord- 
ing to one's own desire or wish. 

Measure to the right of P three-fourths of an inch and 
make ee, also down from left end of Line 10 one-half inch 
and make ff. Squaring on Line 8 at Line 13 continue Line 
13 to the left making it the same length as from Line 8 to U 
and make gg at the end. Squaring on this line at gg draw 
Line 24 up toward top of paper. Placing square so that the 
three-inch mark in neck curve will fall on ff and edge of 
curve on short arm fall on ee, draw a line from ff to ee let- 
ting it extend above ee two or three inches. Adjust square 
so that the five and one-half inch mark in neck curve will fall 
on ee and curve on long end on ff, continue the line from ff 
until it strikes Line 24 and place hh at this point. 

From ee measure up on that line one-sixth of the neck 
measure and make ii. Squaring on the line at ii draw a line 
to the left making it three and one-half inches long 
and place jj at its left end, also kk two inches from jj, or 
from one-fourth to one-half inch more than the distance 

Page Eight 



from kk to ii. From hh measure to the right on neck curve 
one and one-half inches and make LL and squaring on the 
line from hh to LL at LL draw a line up making it also one 
and one-half inches long and place mm at its upper end, then 
placing square face down, so that the two-inch mark in neck 
curve will fall on mm and edge of square on jj, draw a line 
from mm to jj. 

Measure down from hh on Line 24 about ten inches 
or to a point midway between bust and waistline and make 
nn; also measure to the left of P one-half inch and make a 
point, then draw Line 25 from this point to nn which will 
form the break-line of the lapel. From kk draw a line to 
the point where Line 25 crosses the neck curve which will 
form the break-line of the collar. (See Fig. 198.) 

The lines must now be extended below the waistline. 
In a three-quarter length the sections below the waist- 
line are about twenty inches in the back and nineteen in 
front. Find the midway point between aa and Y and draw 
Line 26 down from this point making it six inches long; 
also draw Line 27 six inches long below Line 15 and place 
00 at its lower end. From the lower end of Line 26 meas- 
ure to the right one-quarter of an inch and make pp. Con- 
tinue Line 17 below X in the same gradual slope until it 
is twenty inches long and mark it Line 28. Placing square 
so that its corner will fall on Y and its long edge on pp 
draw Line 29 from Y making it twenty inches long and 
connect it with Line 28 at the bottom. The space between 
Lines 28 and 29 represent the back section of the coat. 

Next place A Curve on aa and let edge of square touch 
pp and draw a line from aa to pp. Measure down from 
top of Line 26 three and one-half inches and make qq then 
placing corner of square on qq and letting its edge touch pp 
draw Line 80 from pp making it fourteen inches long below 
pp. Again, place A on bb and letting its edge touch oo 
draw a line from bb to oo and continue it straight down 
from 00 until it is also twenty inches below bb and mark 
it Line 31. Connect it with Line 30 at the bottom. The 
space between Lines 80 and 81 represents the side back 
section of the coat. 

Placing short arm of square along Line 12 and long 
arm so that its edge will touch dd, draw a line straight down 

Page Nine 



from dd making it nineteen inches in length and mark it 
Line 33. Squaring on Line 13 at U draw Line 34 making 
it nineteen inches in length. Squaring on Line 13 at left 
end continue Line 8 below the waistline until it is nineteen 
inches long. Squaring on the waistline at gg continue Line 
24 until it is also nineteen inches long and connect these 
three lines at the bottom. (See Fig. 198.) 

Now test the hip line six inches below the waistline. 
Measure from Line 8 to Line 34 then from oo to pp 
and from pp to Line 28. In this case it measures eleven and 
seven-eighths. Place the eleven and seven-eighths inch 
mark on square on the point six inches from waistline on 
Line 33 and measure to the right and make a dot at the 
point indicating one-half the hip measure, which in this 
case is nineteen inches, as the original hip measure was thir- 
ty-six and two inches added would make it thirty-eight. 
Place rr at this point then raise it until the distance to cc is 
six inches and draw a line from rr up to cc by placing 
A Curve on cc and letting edge of square touch rr. Line 
32 is then drawn from rr on down fourteen inches long 
by placing corner of square on bb and letting edge touch 
rr. Connect Lines 32 and 33 at the bottom. The space 
between these lines represents the side front section and 
the space between Lines 24 and 34 the center front section 
with lap. This concludes the drafting for this coat, the 
sections of which must be traced and cut separately before 
ready for use. The back and side front sections must be 
traced on another piece of paper, while the side back and 
front sections may be cut from the draft. 

First, cut off the collar from the draft by cutting from 
LL to ff and on up to ii through ee. Then cut the center- 
front section off by cutting along Line 24 from hh to bot- 
tom, then Lines 34 and 14 up to V then the shoulder line to 
ee. Now lay the remaining part of the draft on another 
piece of paper and pin carefully and trace the side front 
section. Begin at waistline and trace Line 21 from cc up 
to L then the armhole curve to and shoulder line to V. 
Trace Lines 23 and 22 then Lines 32 and 33 and the bottom 
line. Remove the draft and cut the side front section from 
the lower paper along all the traced lines, but the waistline. 

Pin the draft again on a piece of paper and trace the 

Page Ten 



center-back section from waistline up and from waistline 
down, then the waistline and bottom line, neck curve and 
shoulder line from A to Z. Remove draft and cut the center- 
back section from the lower paper on all the traced lines but 
the waistline. Now cut the sideback section from the draft 
and you have all four sections separate and ready to cut 
the coat. If a full length coat is desired extend the lines 
below the waistline the full length of skirt or as long as 
wanted. 

Use the two-piece sleeve draft as given in Lesson 3 
except for a coat sleeve add two inches to the elbow meas- 
ure and one inch to the hand measure as coat sleeves must 
be made large enough to easily slip over the dress sleeves. 

DRAFTING A TIGHT-FITTING COAT. 

For a tight-fitting coat use the three-piece back, and 
in the model shown in Fig. 199 the same 
measurements are used as for the semi-fit- 
ting coat with the exception of the waist 
measure which is only three inches larger 
than the original waist measure, as this coat 
fits close at the waistline. Draft the back 
and front the same as given for the semi-fit- 
ting coat until you come to the division of 
Line 16 or waistline in the back. The length 
of Line 13 is determined by using just one- 
third of the distance from G to J; likewise 
the distance between X and Y is just one- 
third of the distance from D to H. I is the 
midway point between D and H, and Z is 
the midway point of Line 7. aa is one and 
one-half inches from Y and bb is the mid- 
way point between aa and Y. pp is placed 
at the lower end of Line 15 and cc is the 
midway point between pp and aa. dd and oo 
are each three-eighths of an inch from cc on 
Line 16. qq is one inch to the left of pp. (See Fig. 200.) 

Draw Lines 18, 19, 20, 21, 22 and 23 in the same man- 
ner as given for drawing Lines 18, 19, 20 and 21 in the 
semi-fitting coat, then measure the waistline by measuring 
Line 13 from Line 8 to U, then Line 16 from pp to oo, from 
dd to aa and from Y to X. In this instance it measures 

Page Eleven 




Fig. 199. 



nine and seven-eighths inches, therefore place the nine and 
seven-eighths-inch mark on square on qq and measure to the 
left and make a point at the mark indicating one-half the 
waist measure, v^^hich in this case is thirteen and one-half 
inches, as we added three inches to the original waist meas- 
ure, making twenty-seven inches and one-half of twenty- 
seven is thirteen and one-half. Then lower this dot until 
the distance to W will be one-quarter of an inch less than 
the distance from U to W and make rr at this point. (See 
Fig. 200.) Draw Line 24 from rr to W by placing A Curve 
on W and letting edge of armhole curve touch rr; 
also draw Line 25 from qq to rr by placing A on qq and let- 
ting edge of square touch rr. Draw a curved line at W 
the same as in Fig. 200 to eliminate pointed effect over 
bust. Next add the collar in the same way as given in Fig. 
198. In a tight fitting coat the lapping of the fronts is 
less than in a semi-fitting and the lapel is usually shorter. 
Therefore make gg two inches from Line 13 or waistline; 
also make a point three inches to the left of G and then low- 
er it one inch and place nn at this point. This may be made 
higher or lower, however, as desired. Draw Line 26 from 
gg up to nn and on towards top of paper, by placing A on 
gg and letting edge touch nn. The end of square will not be 
long enough to extend clear up, but by moving it up three 
or four inches the line can be extended in the same grad- 
ual slope. Line 27 is then drawn to nn similar to Line 25 in 
Fig. 198, also the break-line for collar. 

The lines are next extended below the waistline. Lines 
28, 29 and 30 are each six inches in length and drawn re- 
spectively from bb, cc and pp. ss is one-half inch to the 
1 iKi^t of lower end of Line 28, tt is one-half inch to the right 
of lower end of Line 29, and uu is one-half inch to the left of 
lower end of Line 30. Extend Line 1 below the waistline 
until it is the desired length, then draw Line 31, from X to 
end of this line. Draw Line 32 from Y through ss, the same 
length as Line 31. Connect them at the bottom. Placing 
corner of square on bb and letting edge touch ss, draw Line 
33 from ss making it the same length as other lines. It 
is drawn from ss to aa by placing A Curve on aa and 
letting edge touch ss. Reverse square and place A on dd 
and let edge touch end of Line 29" and draw a line from dd 

Page Twelve 



to end of Line 29. Continue this line by placing corner of 
square on dd and letting edge touch end of Line 29, making 
it same length as other lines and mark it Line 34 and con- 
nect it with Line 33 at the bottom. 

Placing A Curve on oo and letting edge touch tt draw 
a line from oo to tt and continue it by placing corner of 
square on cc and letting edge touch tt making it as long as 
the other lines and mark it Line 35. Place A on pp and 
letting edge of square touch uu draw a line from pp to uu 
and continue it by placing corner of square on a point mid- 
way between qq and pp and letting edge touch uu. Mark it 
Line 36 and connect it with Line 35 at the bottom. Draw 
Line 38, like Line 33 in Fig. 198 straight down from rr mak- 
ing it one inch shorter than the other lines. Draw Line 39 
and extend Lines 8 and 26 below the waistl ne similar to 
the corresponding lines in Fig. 198, making them the same 
length as Line 38 and connect them at the bottom. 

Now measure the hip line which is six inches below 
the waistline. Measure from Line 8 to Line 39, then from 
uu to tt, from lower end of Line 29 to ss and from 
ss to Line 31. In this draft it measures thirteen and three- 
eighths inches, therefore place this mark on the point six 
inches below rr and measure to the right and make a point 
indicating one-half the hip measure which is nineteen 
inches, as we added two inches to the original hip measure 
and mark this vv, then raise it until the distance to qq is 
six inches. Draw a line from vv to qq by placing A 
Curve on qq and letting edge of square touch w. Con- 
tinue it on down by placing corner of square on pp and let- 
ting edge touch w and make it as long as the lines to the 
right of it and mark it Line 37. Connect it with Line 38 
at the bottom. The space between Lines 31 and 32 repre- 
sents the center-back section ; between Lines 33 and 34 the 
side-back section; between Lines 35 and 36 the under-arm 
section; between Lines 37 and 38 the side-front section; 
between Lines 26 and 39 the center front section and the 
amount for lapping. 

The draft is now ready to be laid on another piece 
of paper and the sections traced and cut apart. The cen- 
ter front and underarm sections can be cut from the draft 
as it is but before doing so trace the side-front section off on 

Page Thirteen 



to another piece of paper, then the side-back then the cen- 
ter back, following instructions as already given for tracing 
and cutting. 

In drafting the semi-fitting and the tight-fitting coats 
it may be necessary in some measures to use another dart 
between the dart and underarm seam. This dart 
should be about one inch in width. Let its center come on 
the midway point of the waistline of the side-front and 
let it extend up two-thirds of the distance to the bust line 
and down about five inches below the waistline. This dart 
will be needed only when the waist measure is so large that 
it makes the side-front section too wide at the waistline. 
By using this dart it makes the other dart smaller and 
gives an opportunity for fitting the side-front at the dart 
seam. (See princess draft in Lesson 14.) 

DRAFTING A TAILOR'S CUSHION. 
Draw a straight line about eighteen inches long, and 
mark it Line 1. Divide this in the center and place A 
at the division point. From A measure straight up about 
six and one-half inches and make B. Draw an outward 
curved line from left end of Line 1 to B and continue on to 
right end of Line 
1 though drawing 
this line with a 
little less curve 
than the other. 
(See Fig. 201.) 
To cut, lay Line 1 
on a lengthwise 

fold of the mate- ^ig, 201. Draft of Tailor's Cushion. 

rial. Cut two of these sections and join them together 
leaving an opening about six inches long at one end for 
stuffing. 

The stuffing is made by cutting cotton rags into small 
pieces. Dampen the rags sufficiently to shrink them be- 
fore stuffing; if this precaution is not taken they will 
shrink when the cushion is used afterwards in pressing 
dampened garments. Stuff carefully so that the surfaces 
will be smooth and the cushion firm and solid. Sawdust 
also makes an excellent filler. Close the opening. 

This cushion is used to shrink out any fullness not 

Page Fourteen 




wanted visible such as in the top of sleeves, at elbow and 
in skirt at waistline and over hips. 

THE LINED COAT. 
In all materials there are two sets of threads, one run- 
ning lengthwise and the other crosswise and each at right 
angles to the other. There is also a nap on some materials 
which must run the same way in all the sections. It is very 
important therefore to lay each piece of the pattern so that 
the straight of each section will come on a lengthwise 
thread. Otherwise the coat will twist and draw and no 
amount of basting and fitting will straighten it. This is 
very easy to do in a stripe, for one of the stripes can be 
followed. Fig. 202 shows how to lay the different pieces 
on striped material. 

If the cloth is double width, you may be able to cut all 
the pieces economically with the cloth folded lengthwise 
through the center, as it is folded when purchased. Out- 
line each piece with tailors' chalk and allow for large seams. 
Use sharp dressmaking shears in cutting, so that you will 
get a clean, even edge. After removing the pattern mark- 
stitch on all the chalk marks. 

If single width, lay the goods 
out smoothly with the wrong side 
up, and after outlining all the 
pieces of the pattern, cut off the 
length of the cloth containing 
them. Take the remainder of the 
I cloth and reverse it, and lay it out 
with the right side up and place 
over it the piece on which the out- 
lines are marked, with the right 
side of the latter facing the right 
side of the lower cloth, and be ex- 
tremely careful that the nap of 
each runs the same way. Pin the 
two widths together smoothly and 
cut through both thicknesses. 

Cut the fronts and side fronts 
of the coat from tailors' canvas 
which has been thoroughly shrunk- 
en. It should be soft and pliable, 

Page Fifteen 




Fig. 203. 



■h 



<k 



O"/ 





FIG. 202 

Illiis<iatn>u Showiug How to Lay the Pieces of the Coat on the 

Material. 



Page Eighteen 



as it is not intended to stiffen the coat, but merely to give it 
body and support. Cut the canvas the same shape as the 
front along the front and shoulder lines. Follow the arm- 
hole curve down to bust line and down 
on the under arm line about three 
I inches, then slope across from this 
(point to the waistline at bottom of dart 
and continue straight down to the lower 
edge. (See Fig. 203.) This leaves no 
canvas at the side waistline where it 
would break and cause the coat to wrin- 
kle. Before basting, stretch the side 
and front edges of side front from a 
point two inches above the waistline to 
a point two inches below the waistline. 
Along the underarm edge of side back, 
baste a strip of cambric about two 
inches wide cut the same shape as the 
side back. Also baste a strip of cam- 
bric of the same width along the exten- 
sions of the back and side back or 
rather at the bottom of the sections. (See Fig. 204.) This 
will give a body to the edges and help the tailored effect of 
the coat. 




Fig. 204. 
HoTV Cambric and 
Canvas Are Used. 



To prevent the coat from 
wrinkling and breaking over the 
bust, take a piece of haircloth and 
shrink it and cut to follow the 
shape of the front, around the 
neck, shoulder and armhole curve, 
but a few inches smaller, and fin- 
ish it in a point about three inches 
above the waistline. Do not make 
a dart in it, but cut out a V-shaped 
piece to make it fit, and draw the 
cut edges together. (See Fig. 
205.) Baste a strip of cambric 
over this edge and all around the 
edge of the haircloth to hold it in to the canvas, and also 
to cover its raw edges. Attach the haircloth to the canvas 
by means of the padding stitch, and hem it to the canvas 

Page Nineteen 




Fig. 205. 



at the bound edges. A padding stitch is made by many 
small stitches about one-half inch long on the canvas side 
which just barely catch, but do not show through on the 
right side of the cloth. (See Fig. 206.) 

Baste the canvas to the wrong side of the cloth, then 
baste all the seams together in the tracings, basting the 
canvas right in with the material at the seams. Try the 
coat on, lapping the right front over the left so that the 
two front lines will come together. If there is to be an 
interlining it will tighten the coat some through the body, 
so bear this in mind. Do not try to fit the semi-fitting coat 
snugly. It should hang from the shoulders, curving slightly 

into the figure between 
the bust and hips. It 
should fit as smoothly 
over the hips as pos- 
sible and still allow the 
figure ample freedom 
in walking. Give the 
bust and chest all the 
room they will take. 
A semi-fitting coat will 
j,,g^ 2,^ break in an ugly fash- 

ion at waistline if fit- 
ted too snugly over the hips. If the coat should be too 
large through the body take it in at the seams; if too small 
let out the underarm and shoulder seams a trifle. If one 
shoulder is higher than the other, pad the lower one until 
the two sides are exactly alike. After fitting, baste the 
alterations carefully and try the coat on once more to make 
sure the changes are all right. Stitch the seams and clip 
their edges at all curves so that they will lie flat. Press 
them carefully. 

If the seams are to have straps stitched over them, or 
if they are to be stitched with one or more rows of stitching 
each side of the seam, or as lapped seams, press well and 
then stitch before the lining is put in. 

Now fasten the canvas down on the cloth over the bust 
with numbers of rows of basting, using the padding stitch, 
making them about an inch in length. Begin at the bust line 

Pagfe Twenty 




about the top of dart in the haircloth pad and baste toward 
the center front on the cloth side. Baste another row right 
above this and so on until shoulder line is reached. Begin 
again and baste below the bust line from the dart toward 
center-front and continue until the waistline is reached 
Again begin at the bust line at top of dart and baste toward 
the armhole or underarm seam and continue until shoulder 
line is reached. Begin at bust line again and baste toward 
underarm seam until the bottom of the canvas is reached. 
The idea is to get the fronts so that there will be no possible 
chance for a wrinkle to creep in. One can scarcely do too 
much basting or pressing in a tailor-made garment. In 
fact, that is one of the main secrets of a well-made tailored 
suit. 

Cut to shape a piece of canvas about three inches wide 
and baste it around the neck at the back; also similar pieces 
around the armholes of the back and underarm seams to 
meet the canvas in front. This holds the coat in better 
position and improves the stitching. (See Fig. 204.) 

The next and most important point in coat construc- 
tion is the collar. The collar, in this case, is in two pieces, 
with an outlet seam in the center where alteration may 
be made if necessary. Stitch this seam and press well. 
Cut a piece of canvas the shape of the collar, but three- 
eighths of an inch smaller on all the edges. 

Baste the canvas to the wrong side of the collar and 
roll the collar over on the break-line. The stand — the part 

of the collar be- 
tween the break-line 
and the lower edge 
— must be stitched 
pjg 207. ^^^^ several rows 

stitching on 'standing Part. of Stitching One- 

fourth inch apart. (See Fig. 207.) The canvas and cloth 
on the rolled-over part of the collar and in the lapels must 
be caught with row after row of padding stitches, which 
may be one-half inch long on the canvas side, but not 
visible on the cloth side. When making these padding 
stitches, hold the parts over the hand, canvas uppermost, 
and roll and shape the collar and lapels into the position 
which they are to occupy. By doing this it will prevent 

Page Twenty-One 





the cloth from drawing or wrinkling on the canvas when 
the coat is worn. 

Turn the edges of the cloth 
over on the canvas of the collar 
and catch these edges to the can- 
vas. The edges should be care- 
fully pressed. Remember that 
careful pressing at different 
stages in the construction of a 
coat is one of the most important 
points. 

Baste the collar flat on the 
coat, with the canvas side upper- 
most. The neck of the collar ^, „^^ 
should be stretched a trifle as itstrefeh the couar onGachside of 

1 . 1.1 11 i /o ♦I>e Back Seam. 

IS bemg basted on the coat. (See 

Fig. 208.) Try the coat on, rolling the collar and lapel 
into position. If necessary the outer edge of the collar may 
be stretched in pressing to make it fit the neck snugly and 
set perfectly when the coat is on the figure. 

Tape about one-half inch wide should be sewed three- 
eighths of an inch from the edges of the lapels and the 
fronts. (See Fig. 208.) It should be drawn rather snug 
to prevent the lapels from stretching. This tape should be 
shrunken — wet thoroughly and pressed dry — before it is 
used. If these edges have become stretched in working 
on the coat, they can be drawn in a little in sewing on the 
tape. Turn the coat edges over three-eighths of an inch and 
catch them to the canvas and press them well. 

Cut a collar facing, letting the line from jj to ii come 
on the bias of the material. The facings for the front 
should be cut from the draft, cutting both collar facing and 
front facing a trifle larger than the draft, to allow for fin- 
ishing. The front facings should be about one inch wide at 
the shoulder seam and four inches wide over bust. From 
there they may slope away gradually to a width of two 
inches at the bottom. 

Pin the facing inside the coat and over the lapels, 
rolling the lapels and fronts into their natural position, 
making sure that the facings are large enough to cover 
the lapels and fronts when they are turned back. Turn 

Page Twenty-Two 



the edges of the facing under even with the edges of the 
coat and baste them with great care. Leave the facings 
free at the neck and shoulders and join them to the collar 
facing. Stitch the seams and press them open. 

Place the collar facing over the collar, taking care to 
allow sufficient ease to roll the collar over smoothly. Turn 
the edges of the facing under even with the collar edges, 
and baste them carefully. A row of stitching should run 
close to the edge of the collar, lapels and fronts of the 
coat. A second row may be stitched one-fourth of an inch 
within the first one if desired. If the velvet collar fac- 
ing is used it should be cut from a seamless bias strip 
of velvet, and should be basted to the cloth facing. It 
should reach to the seam joining coat and collar. The 
outer edge should be turned under one-half inch from the 
edge of the collar, allowing a narrow strip of the latter 
to show beyond the velvet. 

If an interlining is 
used it should be the regu- 
lar flannel interlining 
used by tailors. It is 
light and warm and takes 
ap little room. It should 
be cut from the draft, and 
reach just under the front 
facings about three inches 
below the waistline. In 
putting it together do not 
use the ordinary seams, 
but lap one edge over the other and baste. Slash the in- 
terlining at the bottom edge up to the waist line to make 
it lie smooth. (See Figs. 209 and 210.) 

Beginning at the back, pin the back interlining por- 
tion inside the coat and catch the edges to the seams of 
the coat with loose basting stitches. Take the next piece 
of interlining and pin it inside the corresponding piece 
of the coat, lap one edge over the other, cutting away su- 
perfluous material, and baste the edges together one over 
the other, avoiding all possible thickness. Repeat this 
method with each piece of the interlining. 

If necessary, pad the shoulders and around the arm- 
Page Twenty-Three 




Fig. 209. 



Fig. 310. 



Padding Lower Shoulder. Interlining and Sheetwadding 



hole with sheet wadding, (See Fig. 209.) As many lay- 
ers may be used as necessary, always decreasing them 
gradually at the outer edge, so that they will eventually 
merge into the lines of the coat without any lumps and 
ridges. The padding around the armhole in front should 
be cut in sort of crescent or half-moon. The padding on 
the shoulder should taper to a point half way to the neck. 
The padding should be thinnest at these points and widest 
and thickest around the armhole where it fills in the hol- 
lows. This wadding should be basted in carefully and 
securely so it will not slip. 

Baste and stitch the seams of the sleeves which should 
be cut by the coat sleeve draft, allowing one and a quarter 
inches at the bottom if a cuff is to be used. Gather the sleeve 
at the top with two rows of gathering stitches. The first 
row should be three-eighths of an inch from the edge and 
the second one-fourth of an inch from the first. A bias 
strip of canvas about three inches deep should be 
basted to the wrist of the sleeve about three- 
eighths of an inch from the lower edge, and the 
cloth edge of sleeve is turned over and hemmed 
down to the canvas. (See Fig. 211.) Baste the 
sleeves in, allowing the inside seam to come about 
one and one-half inches in front of the underarm 
seam. Try the coat on to see if the sleeves set 
well. Remove and stitch, having the sleeve seams 
turn toward the neck. Press the seams until they 
lie perfectly flat. 
Figran. If a turn-back cuff is used, draft it according 

to instructions for drafting a circular cuff in Lesson 6, 
and make a good allowance for seams. It must be inter- 
lined with canvas and lined with the coat lining material. 
The canvas should stop three-eighths of an inch from the 
top and side edges of the cuff 
and an inch and a quarter 
from the lower edge. Baste 
the canvas to the cuff and 
then turn the cloth edges over 
and baste to the canvas on 
the top and side edges. (See ^*^' 

Fig. 212.) Line the cuff with the lining material and 

Page Twenty-Four 







catch its back edges together. Slip the cuff 
over the sleeve with their lower edges even. 
Both the cuff and sleeve are turned up an inch 
and a quarter, for a hem, and cat-stitched to- 
gether. (See Fig. 213.) 

After stitching the 
sleeves in, put the top 
of the sleeves over the 
small end of a tailors' pig, 213. 
cushion, wrong side uppermost, place 
a damp piece of muslin over the gath- 
ers, and shrink out the fullness with 
a hot iron. (See Fig. 214.) 

Line the coat either with silk or 

satin. Silk substitutes may be used 

where it is an absolute necessity for 

economy. Have the lining match the 

shade of the cloth. A white lining is 

Pig. 214. ygj.y pretty and attractive, though not 

so serviceable. Remember, all the stitching and finishing 

of seams must be done before the lining is put in. 

The lining should be cut with 
the coat draft as a guide, making 
any changes in the lining that were 
made in the coat. Cut the lining 
fronts to reach just over the edges 
of the front facings. Allow one- 
half inch on either side of the center 
back for a center back plait. Allow 
a little extra at the side, front and 
side-back seams, for the lining must 
be easy in width and length or it 
will draw the outside of the coat. 

Baste the plait in position in 
the back and baste the lining in the 
back of the coat. Catch the side 
edges flat to the interlining of the 
coat seams with a loose basting^*-*"** v**^ of coat umns 
stitch. Take the next piece of the lining and baste it to 
its corresponding portion of the coat, always keeping the 
lining easier in length and width than the coat itself. 

Page Twenty-Five 




Fig. 215. 




Turn the back edge of each lining portion under and fell 
or overhand it over the front edge of the adjoining lining 
portion. Clip the edges at the curve in the waistline so 
they will shape themselves easily into the coat. At the 
side-front seam lay a small plait at the shoulder, taper- 
ing it to nothing at the waistline. 
This removes any possible chance 
of the lining being too tight across 
the chest and bust. At the neck 
let the lining cover the collar 
seam. Turn up the lining at the 
bottom so that about one-half inch 
of the cloth will show. Fell or 
overhand the neck, front and bot- 
tom of the lining neatly with 
small, even stitches. 

Cut the sleeve lining the same 
size as the sleeve itself. A piece 
of cambric six inches deep should 
be sewed in the top of each sleeve 
to hold it out slightly from the 
shoulders. If an interlining is 
used in the sleeve it should be 
cut by the draft, but should only reach to within an 
inch and a half of the side edges of the upper portion 
and about three inches from the top and wrist. Baste 
it to the inside of the lining. The lining is basted and 
stitched separately from the sleeve itself, and then pressed. 
Slip the lining inside the sleeves with the corresponding 
seams together. Turn under the upper edge and baste 
it over on the coat lining, felling it into place afterwards. 
Turn under the wrist edge of the sleeve lining and baste 
it first over the hem, being careful not to get it too short, 
and then fell or overhand it down neatly. A final press- 
ing should be given the coat before it is worn. This coat 
is designed to be worn in the Fall and Winter. The 
Spring and Summer coats do not require the numerous 
linings, interlinings, wadding, etc. 

THE UNLINED COAT. 
The coat, collar and sleeves, of course, are drafted ac- 
cording to instructions already given. Remember to shrink 

Page Twenty-Six 



Fig. 1:10. 
Plait and Back Viewof Lining; 



all the material before using it. Lay the different sections 
of the draft or pattern on the cloth, as before instructed, 
allowing ample for seams. The 
fronts will require the firmness of 
an interlining, otherwise they will 
droop and wrinkle. This interlin- 
ing is from one and one-half to two 
inches wide at the bottom, gradu- 
ally increasing in width until it is 
about four inches wide at bust line 
in the upper part. It should extend 
out to the armhole and to the shoul- 
der seam above the chest. (See 
Fig. 217.) However, if the coat is 
made of heavy material, and the 
person has a full figure, the inter- 
lining need only be placed in the 
first section, and not extend over 
the armhole in the second section. 




Fig. 317 



For linen coats the interlining should be of butchers' 
linen. For cloth use the soft pliable tailors' canvas. For 
silk use a lining material about the weight of cotton serge, 
sateen or cotton henrietta in the fronts, and a light weight 
lining canvas or soft crinoline for the collar, sleeve caps 
and wrist. The interlining must always be shrunken like 
the coat material before it is used. Lay the interlining on 
the wrong side of the front sections, pin and then baste it 
in place. It is a good idea to stretch these pieces the same 
as given in the lined coat. Baste all corresponding seams 
together. Try the coat on lapping the fronts until the two 
front lines come over each other. This coat usually requires 
very little fitting, especially if the measures were taken cor- 
rectly, and the drafting properly done. It should set 
smoothly, giving the figure plenty of room, but defining 
every curve. It must be perfectly easy over the bust and 
fit a triflle more closely over the hips. If too snug, let out 
the seams a little, or if too large take them up enough to 
give proper fit. 

It is possible the shoulder seams might cause a little 
diflSculty as they cannot be padded in an unlined coat. If 

Page Twenty-Seven 



one shoulder is higher than the other, fit the higher one 
rather snugly, the lower one rather loosely, and the dif- 
erence between them will hardly be noticeable. Remove 
coat and if any alterations are to be made, rebaste and give 
the coat a second trying on. Stitch the seams on the wrong 
side for woolen or wash materials, but on right side for a 
silk coat, which must be finished with French seams. In 
the cloth or cotton coat the seams must be slashed or notched 
at the curves so that they will lie perfectly flat. In woolen 
material, the seams may be pressed open, the edges bound 
separately with thin silk or seam binding, and stitched 
again on each side of the seam. Or they may be bound to- 
gether, laid flat against the coat, and stitched with one row 
of stitching. In wash materials the seams may be bound 
and stitched like the cloth coat, using a thin lawn the color 
of the lining for a bmding. This thin lawn binding can be 
purchased at the stores in three or four 
colors. 

In a cloth coat the interlining should 
be caught to the fronts with padding j 
stitches. In silk or wash material the' 
over and over, or whipping stitch, used 
along the outer edges will hold the inter- 
lining firmly in place. If the front facing 
extends out to the armhole in front, then 
there must be a yoke lining across the *^'^- ^is- 

back. Hem the lower edge and baste the yoke to the back 
of the coat, leaving the lower edge free. (See Fig. 218.) 

In this coat we are using the shawl collar because of 
having handled the notched collar in the lined coat. The 
foundation of this shawl collar is the same as the notch 
collar, with the exception of the notch and the line from 
hh to jj. Omit the notch at LL and mm and draw a line 
from hh to jj, by placing A Curve on hh and letting edge 
touch jj. It is then cut from the front section the same as 
the notched collar. It has a seam in the center back which 
can be let out or taken in to correspond to any changes 
that may have been made in the neck or shoulder seams of 
the coat. Baste and stitch the collar seam and then press 
Page Twenty-Eight 




it open. Cut an interlining the shape 
of the collar, but three-eighths of an 
inch smaller at all edges. 

Use the collar draft for this so 
that the shape will be exact and keep 
the grain line absolutely true. Baste 
the interlining to the collar, holding 
them both over the hand with the in- 
terlining on top. (See Fig. 219.) 
Stitch the stand with several rows of 
stitching a quarter of an inch apart. 
In a silk or linen coat stitch the rest 
of the collar with a zigzag row of 
stitching. (See 



Fig. 220.) In 
a cloth coat use 
the padding 
stitches. 
Turn the 




Fig. 219. 




Fig. 220. 



outer edges of the collar over on the interlining and catch 
them down and then press them so that they will lie per- 
fectly flat under the collar facing. Baste the collar to the 
coat, interlining uppermost. (See Fig. 221.) Stretch the 
collar a little at its neck edge when putting it on so that 
it will fit close to the neck. If the outer edge of the col- 
lar seems to adhere to the figure too closely over the shoul- 
ders and back of the neck, stretch it a little. Remove coat 
and stitch the collar seam where it joins the coat. 

Turn over the front edges of 
the coat three-eighths of an inch, 
baste them down and then catch 
to the interlining. Tape the edges 
of the lapel and fronts as shown in 
Fig. 208. The interlining in the 
fronts must now be covered with a 
facing of the material which should 
be cut long enough to reach from 
bottom of coat to the collar line 
from jj to one inch beyond ii. Al- 
low for seams when cutting the fac- 
ing. 
Pin the facings inside of the coat and over the collar, 

Page Twenty-Nine 




Pig. 221. 



having the straight edge of the facing extend a little be- 
yond the front line of coat from hh down to bottom and 
roll both coat and collar over the hand in doing so, to give 
the facing the ease and size that it needs to make it set 
smoothly. Turn under the front edges of the facing even 
with the coat and collar, and baste them down very care- 
fully. Be sure that they do not push out beyond the edges 
of the coat. Stitch once close to the edge and again three- 
eighths of an inch from it. The seam at the back of the 
collar will come on the bias. The edge of the collar should 
be turned under and machine-stitched the same as the 
front edges. The shoulder edges of the back yoke should be 
turned under and felled over the shoulder edge of the facing. 

If preferred, the facing of material for the collar may 
be cut separately and applied in the same manner as the 
notched collar. In this event the facing for the fronts need 
only extend to the neck curve and shoulder lines. 

The bottom of the coat should be turned up about one 
and one-fourth inches for a hem. Baste and stitch the 
sleeve portions together. For the fuller sleeves gather the 
tops with two rows of stitches, which should be uniform 
in size. (See Fig. 222.) A bias strip of interlining about 
three inches deep should be basted to the wrist of the sleeve 
about three-eighths of an inch from the lower edge. Turn up 
the lower edge of the sleeve and catch it to the inter- 
lining. Since the sleeves are unlined the wrist must be 
under-faced with a bias strip of the coat material. Turn 
under the lower edge of this facing and blind stitch it to 
the sleeve. Hem or bind the upper edge and catch , 
it to the sleeve with a 
few invisible stitches. 

Cut from the interlin- 
ing material a crescent- 
shaped piece to be used 
in the top of the sleeve 
to prevent its falling in 
against the arm. This 
should be covered on 
each side with pieces of 
the coat material. It 
should extend as far as 




Page Thirty 



the lower edge of the yoke lining in the back and to a point 
in front one and one-half inches from the underarm seam. 
This is sewed into the coat with the sleeve. (See Fig. 222.) 

Baste the sleeves in, having the gathers evenly dis- 
tributed, though of course more of the fullness goes on 
top of the shoulder than toward the front and back. Try 
the coat on before stitching the sleeves in to see if the 
gathers are in the right position and the sleeve sets prop- 
erly. The fullness at the top can be shrunken out so that 
it will look perfectly plain, if desired, using the tailor's 
cushion. (See Fig. 214.) 

After the sleeves are stitched the seams must be 
neatly bound, the seam turned toward the inner edge and 
pressed flat against the coat; otherwise the top of the 
sleeve will stand up from the arm instead of lying flat 
against it. (See Fig. 223.) The coat is fastened with but- 
tons and buttonholes. Buttons are 
generally buttonmolds covered 
with the material of the coat or 
trimming. Occasionally the only 
trimming a coat has are but- 
tons and simulated buttonholes. 
The latter are made of narrow 
strips of braid or silk ribbon, with 
their edges turned in and blind 
stitched together. 

Light weight coats need a weight 
of some sort at the bottom to keep 
them from flying up at every draft. 
Little leaden pieces about the size 
of a quarter can be purchased at the notion counter for this 
purpose. They should be covered with the material of the 
coat and sewed at each seam just inside the hem. 




Pig. 223. 
Binding Armhole. 



Page Thirty-One 



QUESTIONS. 

1. (a) Explain one of the methods of shrinking materials, (b) 
How is the shine that sometimes comes in pressing, removed? 

2. What changes are made in the waist draft and measures for 
a semi-fitting coat pattern? 

3. Fnlly explain how a rolled turn-over collar is drafted and 
traced. 

4. Describe fully the tracing and cutting of the side front and 
center back sections. 

5. What difference is made in the semi-fitting draft for a tight- 
fitting coat pattern? 

6. How is a tailor's cushion made and for what is it used? 

7. (a) How are the different sections of the coat draft laid on 
double width material? (b) On single width material? 

8. Explain fully how the canvas is cut for the front. 

9. (a) How is the haircloth pad made and put m and what is 
its use? (b) How are padding stitches made? 

10. (a) How is the canvas applied to the front of coat? (b) 
What is the use of so many rows of padding stitches over the fronts? 
(c) How is the canvas cut and applied in back of coat? 

11. Explain fully how the collar is made and attached to the coat. 

12. (a) How are the front facings cut and applied T (b) The 
collar facing? 

13. (a) Explain the method of cutting and inserting the inter- 
lining, (b) For what is sheet wadding used and where is it applied? 

14. (a) Describe in detail the making of the sleeves, (b) How 
is a turn-back cuff made and put on? (c) How is the fulness at 
top shrunken out? 

15. (a) How is the coat lining cut and applied? (b) The sleeve 
lining? 

16. (a) Explain how an interlining is cut and attached to the 
unlined coat, (b) Of what is it made for coats of different ma- 
terials? 

17. (a) How are the shoulders remedied in case one is higher 
than the other? (b) How are the seams finished? 

18. How is the shawl collar made and applied to coat? 

19. (a) How are the front facings put in in this coat? (b) The 
collar facing? 

20. How is the bottom finished? 
Page Thirty-Two 



THE 

AMERICAN SYSTEM 

OF DRESSMAKING 



A Course of 

Instruction by Mail 

in the 

Science and Art 

of 

Successful 

Dressmaking 

And Ladies' Tailoring 



Lesson No. 13 



The American College of Dressmaking 

(Associated Training Schools, Proprietors. ) 

KANSAS CITY, MO., U. S. A. 



Copyrighted 1906, 1907, 1908 and 1909 
by J. M. Stelle 

Copyrighted 1910 and 1911 
b^ Associated Training Schools 



Jill rights reserved. 



T^rinted in the United States. 



%\)t 



American ^j^istem 
ofBre00mafein!i 

TAUGHT ONLY BY THE 

9tnertcan College of Bressmafeing 
iSlansas Citp, JHo. 

Miss Pearl Merwin, Supervisor. 

Lesson No. 13 

COAT POCKETS. 

Coats are made either with or without pockets. When 
made with they are inserted during the making of the 
garment and before the lining is put in. 

In a loose front coat a pocket is generally inserted be- 
tween the .■.....-.•....• 

coat and lin--" :. :"-■:'■■■••■■>■;• ■^;';>;v--:-';;:^^^^^ ''■.'■■■'' 

ing at one. 
of the front 
edges on 
which ever 
side is more 
con venient 
for the 

wearer. It fis. 224. 

is made of the same material as the lining. The opening for 
the pocket should begin about four inches below the waist- 
line. A great amount of care is required to insert a pocket 
neatly, but much difficulty may be obviated if instructions 
are followed closely. 

The opening or slash may be perpendicular or hori- 
zontal. The same method of inserting is followed in either 
case. 



1 






// 


^^m 


^ ^ 


^ 



Pagfe Three 



Make a mark for the slash in the desired position and 
cut a bias piece of the material two inches wide and one inch 
longer than the pocket mark. Baste it to the right side of 
the coat with its center exactly over the pocket mark and 
each end half an inch beyond them. On the wrong side just 
opposite this piece, baste a similar piece of cambric. Make 
a row of stitching on either side of the straight pocket mark 
close to it. (See Fig. 224.) These stitchings hold the two 
layers of material together. Tie the threads at the ends of 
the stitching. Re- 
move the bast- 
ings and cut the 
pocket open ing 
exactly on the 
line marked for 
it. Push the 

biaspiece — 

through to the 

wrong side. (See *'*^- ^^^* 

Fig. 225.) It then covers the cut edges and forms a welt 

edge round which you 

must baste neatly. (See 

basting around lower 

^ " ' ' " " " ^ ^^ part of pocket work in 

Fig 225.) Stitch around 
the edges. Slipstitch the 
edges of the opening to- 




before pressing them well under a 



Fig. 236. 

gether (See Fig. 226 ) 
damp cloth. 

Of linen, silk or lining, cut { 
two pocket portions with round 
corners making them two inches 
wider than the pocket opening. 
One section is to be felled to the 
piece of material which was 
pushed through on the inside, 
just below the lower pocket edge. 
Therefore slash it from the top 
on either side so that you may *'*«• ^^' 

turn under the part that fits the opening, and have pieces 
extend above it on either side. (See Fig. 227.) Stitch the 

Page Four 





Fis. 228. 



second pocket section to the bias piece of material just 

above the upper pocket edge. Turn in all the edges of 

the pocket sections and stitch them together separately from 

the coat. (See Fig. 228) . 

In some cases an in-and-out pocket lap is used, in which 

event a piece of interlining cut two inches wide 

and one inch longer than the pocket 

mark is applied to the wrong side 

in the same manner as to the right 

side. Line the pocket lap with silk, 

stitch it and baste it to the right 

side of the coat, face down, with 

one edge a quarter of an inch above 

the pocket mark, having the oppo- 
site edge extend toward the top of 

the coat. (See Fig. 229). In a 

cloth coat the pocket will be of the lining material, so the 
upper edges of both portions must be 
faced with the cloth. (See Fig. 230) . 
Baste the lower pocket portion to the 
coat with its right side to the right 
side of the coat and its upper edge a 
quarter of an inch below the pocket 
mark as shown in Fig. 231, having 
folded back the edge of the pocket- 
lap. Stitch the pocket-lap to the coat 

from the wrong side along the line of basting, but do not 

catch the folded edge in with the stitching. 

Stitch the pocket portion to the coat along 

the basting line in the same way and then 

fold back its edge, also the edge of the lap 

as shown by the figures X in Fig. 232. 

These two rows of stitching must be par- 
allel and of the same length. Tie the ends 

of the thread firmly. ^^s- 230. 

Now cut the pocket-mark with a small, sharp pair of 

Page Five 




Figr. 229. 




scissors exactly on the mark. Push the lower pocket por- 
tion through the slit, Fig. 232, and baste it down from the 
outside and stitch close to the edges. Bring the free upper 
edge of lap down and baste it in position so that the open- 
ing edges come together and baste them. Leave these 
bastings in the opening until the coat is entirely finished, 
so that the pocket will be kept in its correct position. 



Baste the upper pocket portion to the coat over the 
basting of the lap. (See Fig. 233). Stitch across the 
upper side of the opening in the 
basting. The one row of stitching 
will hold both the lap and the upper 
pocket portion in place. Press the 
work carefully' and then join the 
two pocket portions together, 
stitching all around the edge. 

There is also what is called a 
patch pocket, applied like a patch 
on the outside of the coat. This is 
a very simple matter, as it is just 
stitched on. Frequently this kind 
of a pocket is whipped on the inside of a coat to the lining 
when no pocket is desired on the outside. 




Fig. 231. 





Fig. 233. 



Fig. 233. 



Page Six 



MAKING FANCY COLLARS. 
In making fancy collars with several corners, it is often 
a tedious and difficult task to get the corners turned in even- 
ly, so that a neat result will be secured. Nearly all collars of 
this kind are lined and often an interlining of crinoline is 
used. The lining is usually of silk or satin, especially when a 
coat collar. Baste the crinoline portions to one of the silk 
portions then baste the upper section and the under section, 
having the right sides together and stitch three-eighths of an 
inch from all the edges, following outlines of collar closely. 
(See Fig. 234.) After stitching trim off the collar edges at 
the points, leaving just enough material to hold the edges 
securely together. (See Lines A and B.) The curved part of 
the seams must be clipped or notched up close to the stitch- 
ing so that they will not draw when the collar is turned right 
side out. See notches at C and D. At E the collar edge must 
be slashed almost to the sewing line so that it can be turned 
neatly, otherwise the collar will draw here also. 




Figr. 234. 

Now turn the collar right side out with the seam ex- 
actly in the fold. Baste all the edges and press under a 
cloth with a medium warm iron and then stitch it three- 
eighths of an inch from the edge. Adjust to coat accord- 
to instructions given in a former lesson. If a rolled- 
Page Seven 



over collar is used stitch the stand part with several rows 
of stitching about one-fourth inch apart. 

AN EVENING COAT. 
The evening coat is drafted according to the instruc- 
tions given for the semi-fitting coat with the exceptions 
of the sections in the back and the dart in front. These 
are usually omitted and two plain backs and two plain 
fronts are used. The back may be left in one piece, how- 
ever, by laying the center back line on a fold of the material. 
An evening coat is usually very loose-fitting, hanging from 
the shoulders and bust line without any approach or curve 
toward the waistline. (See Fig. 235.) 

Broadcloths, velvets and satin are used, but the most 
practical is the broadcloth, as it is always in style. The 
color may be chosen according to one's own taste, but the 
soft, pale shades are the most popular. They range in 
rose tints from coral to pink; the champagne colors from 
cream up to light browns, and the paler shades of blue and 
gray. Black is always appropriate, especially for elderly 

women. When broad- 
cloth is used, remember 
to have it sponged before 
it is used, to prevent its 
spotting. Lay all pieces 
of the pattern on it with 
the nap running the 
same way in every piece. 
The nap should run down 
in broadcloth or panne 
velvet, but in the other 
velvet it should run up. 
The trimmings usually 
consist of satin facings 
for collars and cuffs, 
fancy braids, cloth or 
satin-covered buttons, 
Pie. 236. etc., etc. The lining 

should be white to protect the gown beneath it. 

Page Eight 






Evening coats are not cut full 
length, but should come from five 
to six inches from the floor. This 
is long enough to protect the dress, 
and yet short enough to protect the 
coloring of the coat itself. 

Besides the material for the 
coat, there will be needed a lining, 
an interlining of outing flannel or 
a wool interlining, one and one-half 
yards of canvas for facings, a yard 
of soft cambric and trimmings for 
collars and cuffs to suit the taste. 
An all-important point is lay- 
ing each portion of the pattern on 
the correct grain of the goods. 
Allow for all seams when cutting. 
Cut a strip of canvas the shape of 
the front of the coat. It should be 
about six inches wide along the 
Figr. 236. front edges, and should extend to 

the neck, shoulder and armhole and down the under arm 

seam about three inches. (See Fig. 236.) Cut another 

piece of the canvas three inches wide and the shape of the 

armhole in the back ; also a third piece two inches wide the 

shape of the back at the neck. (See Fig. 237.) Pin these 

portions smoothly to the wrong side 

of the material of the coat in their 

proper positions and baste carefully 

with short stitches. After basting 

stretch the shoulder seams a little 

which will make the coat fit into the 

curve at the shoulder. (See Fig. 236.) 
Use a tape about one-fourth of 

an inch wide and sew it to the can- 
vas along the edges of the fronts, 

being careful that the stitches do not V^ 

show through on the right side of / 

material. The tape must be shrunken T^ 

before being used. Stitch along the / 

shoulder, neck and front edges of the * 




Flsr. 237. 

Page 



Nine 



coat as close to the raw edge as possible. This will hold 
the cloth and canvas firmly together 
so that in handling it can be managed 
as one thickness of material. 

First, baste the shoulder and un- 
der arm seams together, (Fig. 238), 
then the center back seam, using 
about three-eighths of an inch for 
the seam of the latter. Try the coat 
on, lapping the right front over the 
left front, and pin in this position. 
This coat is loose fitting and must 
hang from the shoulders. If it 
wrinkles in any way alter it accord- 
ing to instructions and illustrations 
given in Lesson 5. Remove and make 
alterations, if any, and try on again 
stitching seams to mjake sure it is right. Stitch the 
and then trim them to within three-fourths of an inch 
stitching and press open. 




Fig. 238. 



before 
seams 
of the 



In the bottom of the coat baste a narrow bias width 
of cambric, placing it three-eighths of an inch above the 
edge of the cloth. 

Turn under the front edges of the coat three-eighths 
of an inch and catch 
them to the canvas, 
also turn up the bot- 
tom edge three- 
eighths of an inch 
for a hem, and baste 
to cambric. (See 
Fig. 239.) The top 
edge of the hem 
need not be turned 
under again as the lining will cover the raw edge. Stitch 
around the bpttom about one-fourth of an inch from the 
edge and continue the stitching up the fronts, keeping it the 
same distance from the front edges as from the bottom. This 
stitching also serves to hold the sateen and cloth in one 
thickness in handling. Baste a piece of cambric six inches 

Pag€ Ten 




Fig. 239. 



deep in the top of each sleeve to give body and firmness 
to the folds. (See Fig. 222.) Instead of gathering the full- 
ness, if any, in upper edge of sleeve, make three forward and 
three backward turning plaits large enough to take up the 
amount of fullness not required by the armhole itself. Even- 
ing coat sleeves usually have fullness at the lower edge and 
are finished with a large cuff which turns back over the 
sleeve. The fullness at the lower edge should be plaited in 
folds, also. Baste the sleeve seam, stitch and press it open. 
Baste the sleeves in and try coat on to see if they are in 
right position. Remove and stitch the seams and press flat, 
having the seam in upper part of sleeve turned toward the 
neck. Use the circular cuff draft for cutting the cuffs, fol- 
lowing the same method of basting in crinoline, trimming 
and slashing the edges, pressing, etc., that were given for 
the collar. Join the ends of the cuff after it is made, with in- 
visible stitches to within two and one-half inches of the top. 
Baste the cuff to the sleeve having lower edge three-eighths 
of an inch below sleeve edge. Turn up edge of cuff and 
blind-stitch it to the sleeve. If cuff is braided it must be 
done before the facing is applied. Cut sleeve lining and 
interlining from sleeve draft. The interlining should ex- 
tend only to within three inches of the upper and lower 
edges of the sleeve, and should be basted securely to the 
wrong side of the lining. After this is done baste the 
seams of the lining together, stitch and press open, and 
then lay the plaits in this lining the same as in the outer 
sleeve. The lining and interlining of the coat are cut from 
the coat draft. Baste the interlining sections to the wrong 
side of the lining and then baste the seams, remember- 
ing, of course, to alter these seams the same as coat seams 
were altered. Stitch the seams and trim them off to 
within three-eighths of an inch of the stitching and press 
them open. 

Cut away the interlining three-eighths of an inch 
from the neck and front edges and about two inches from 
the bottom of the lining. Turn the lining up two inches 
with its raw edge turned under a seam's width and baste 
it down and then stitch right through the interlining. This 
will make the lining three-fourths of an inch shorter than 

Page Eleven 




the coat itself, as it should be, to keep it from slipping 
down and showing below the bottom edge of the coat. 

Before attaching the lining it is necessary to finish 
the neck with a collar. In the model illustrated in Fig 235 
a fancy sailor collar with shawl ef- 
fect in front is used. However, the 
notch or plain shawl collar may be 
used or the neck may be left plain 
and trimmed in fancy braid similar 
to the Russian Blouse shown in 
Fig. 244. The collar in Fig. 235 is 
drafted similar to the shawl collar 
but shaped like a sailor collar at 
the bottom. Cut a piece of canvas 
the same size as the collar pattern 
then pin the canvas on the material 
and cut a collar three-eighths of an 
inch larger on all the edges and 
baste the two together, then use 
padding stitches on the stand part Fig. 240. 

of the collar in successive rows. (See collar in Fig. 207.) 
In attaching the collar, pin it in position at the center back 
seam and then baste, having the seam edges come on the 
inside of coat. After basting and stitching, clip the edges 
of the seam to allow them to spread and lie flat when you 
press them open. (See Fig. 240.) Try the coat on to see 
if the collar rolls smoothly. If so, remove and press the roll 
of collar and fronts thoroughly. 

Next turn the edges of the cloth part of collar over on 
the canvas and whip or hold it down with cat-stitching 
as illustrated in Fig. 240. Then press the edges well under a 
wet cloth. The coat is now ready to be faced. However, if 
the collar is to be braided it must be done before it is faced. 
Transferring the design is a very simple process. You lay 
the transfer pattern face downward over the material and 
pass a hot iron quickly over it. Test the heat of the iron 
first on a scrap of the cloth, using the trial transfer sheet 
that comes with the pattern when purchased. If you use 
soutache braid it can be sewed on either by hand or machine. 
Sew the braid on, easing it generously around the curves, 

Page Twelve 



for the sewing is apt to tighten it and make the cloth draw 
up. Tubular braids are sewed down by hand with slip- 
stitches. Baste the facings to the fronts the same as given 
in the unlined coat. 

Now place the lining inside the coat having the inter- 
lining next to inside of coat, of course. Catch the center 
back seams of the lining and the coat together with long 
basting stitches, also the shoulder and under-arm seams in 
the same manner. Catch the raw edges of the neck and 
fronts of the interlining to the raw edges of the coat. Turn 
the lining edges under a seam's width and fell them into 
position with small stitches. The lower edge of the lining 
should be felled to the coat as far as the canvas extends; 
the rest is left loose. Baste the armhole edges of the coat, 
interlining and lining together and then slip the sleeve lin- 
ing inside the sleeve with the seams together and the wrong 
side of the interlining next the wrong side of the sleeve. 
Turn under the upper edge of the lining a seam's width and 
fell it over the body lining. Turn under the wrist edge of 
the lining in the same way and fell it neatly to the lower 
edge of the sleeve. 

THE RUSSIAN BLOUSE-COAT. 

A Russian blouse-coat consists of a waist and skirt 
portion joined together by means of a belt. To draft the 
upper or waist portion, outline the back and front the same 
as given for the semi-fitting coat. There are no divisions 
required in the back, aa and X are each placed one-half 
inch from the under-arm and center back lines respectively. 
(See Fig. 241.) bb is also placed one-half inch to the left 
of the lower end of under-arm line. A straight line is 
drawn from X to B. The lines from aa to K and from bb 
to K are drawn in the same manner as the under-arm lines 
in the semi-fitting coat. U is placed at a point on Line 13 
one-third of the distance between G and J plus one-half inch. 

Page Thirteen 



A straight line is then drawn from U to center of front 
shoulder at V. This locates W on Line 12. 

There is usually a little fullness or ease in the front 
and back portions at the waistline, therefore, in putting in 




FIG. 241 



the dart we cannot make it of a sufficient width as to make 
the waist measure the same as the original measure taken, 
but will use one-fourth of the difference between bust and 
waist measure for its width. For instance the bust meas- 
ure is thirty-eight and waist measure twenty-four, the dif- 
ference is fourteen inches; one-fourth of fourteen is three 
and one-fourth inches, to make the width of the dart, there- 
fore, measure from U to the right three and one-fourth 

Page Fourteen 




Fig. 243. 

Skirt Portion of Russlau Blouse or Top of Four-Gore Skirt With 

Seam in Center Front. 



Page Fifteen 



inches and make cc then draw a line from cc to W making 
it a quarter of an inch shorter than the line from W to U, 
by placing A Curve on W and letting edge of armhole curve 
touch cc. (See Fig. 241.) Cut the sections apart on the 
proper lines. The front remains in one section; the dart 
being taken up after material is traced and cut. If desired 
no dart in front may be used and the entire fullness gath- 
ered in at the waistline, but where there is a great difference 
between bust and waist measures the amount of fullness 
will be too much without the dart. When a blouse is used 
draw the bottom line like dotted line in Fig. 241. 

For skirt portion of Russian blouse see Fig. 242. To 
make this, draft top of seven-gore skirt by the required 
measurements, according to instructions in Lesson 7. 
Leave front and side-front gores as drafted. Cut along 
lines representing edges of original side-back and back 
gores. Pin these portions on another piece of paper. 
Taking the same measurements as used in Lesson 7 for 
example, the front dart would be one and one-fourth 
inches wide; next placing original side-back gore so that 
left end of its hip line will just meet right end of orig- 
inal side-front gore, swing bottom out to the right so that 
six inches below hip line these portions will stand one 
inch apart and one and one-fourth inches at waistline, 
and pin in this position. Also, placing original back gore 
so that left end of its hip line will just meet right end 
of original side-back portion, swing bottom out to the 
right so that six inches below the hip line these portions 
will stand three-fourths of an inch apart and one inch at 
waistline. The line representing the back edge of back 
gore should be raised one-half inch or more as required, 
sloping it off gradually to original waistline. (See Fig. 
242.) The dotted line near top of original side-back and 
back gores, also, across inverted plait indicate their length 
above hip line before any extra was added. The inverted 
plait may or may not be used. 

The dart may be taken out at the side or a seam 
used here extending to bottom, whichever is desired. The 
space indicated by front and back darts in Fig. 242 is to 
be taken in in fullness and shrunken out at the waistline, 
which can be done only in material that will shrink well. 

Page Sixteen 




In using non-shrinkable goods such as satin, silks, linens, 
etc., one-half of front dart may be taken off of front line 
and the remainder in side dart. The back dart may be 
eased in belt or if found too much, in some forms and 
some materials, the back line may be turned under a 
little. The same may be used for the four-gore skirt. 

For a circular skirt portion use top of circular skirt 
as shown in Fig. 162 in Lesson 9. 

To draft a fitted belt draw a parallelogram making 
the top and lower edges each the length of one-half of 
waist measure, plus one inch, and the ends each three 
inches. This will make a belt two inches wide. Number 
them Lines 1, 2, 3 i//v£ / •^ 

and 4, respectively. 
(See Fig. 243.) 
Find the center 

of Lines 1 and 3 ' e ^az/j q 

and place A and B ^»»- ^'^^ 

at the division points. Measure up one inch from the 
bottom of Line 4 and make C likewise measure down 
one inch from the top of Line 2 and make D. Meas- 
ure down one-half inch from A and up one-half inch 
from B and make E and F respectively. Now, plac- 
ing A on square at the junction of Lines 1 and 4 and 
letting its edge touch E, draw a line from the junction 
of these lines to E. Move square down so that A will 
touch C, letting its edge touch F, and draw a line from 
C to F. Reverse square and place A Curve on D and let 
its edge touch E and continue the line from E to D. 
Move square down so that A Curve will be at the junc- 
tion of Lines 2 and 3 and let its edge touch F, and con- 
tinue the line from F to the junction of Lines 2 and 3. 
Measure one-fourth inch to the left of D and make 
G and draw a line from G to junction of Lines 2 and 3. 
This will give just a hint of a point in front when the 
ends meet. It may be made more pointed or cut in a 
more fancy shape, if desired. Allow a seam's width on 
all the edges when cutting. Line 4 from C to junction 
of Lines 1 and 4 is laid on a fold of the material. 

The coat may be drafted with the open or V-shaped 
neck, the plain coat sleeve and the longer peplum or skirt 

Page Seventeen 



portion. (See Fig. 244.) Or it can be 
drafted with the standing collar, bishop 
sleeve and short peplum. Both styles are 
equally good. The former is preferable for 
spring wear as the open neck is more com- 
fortable than the standing collar. To draft 
a V-shaped neck draw a line from P to G or to 
a point above G as indicated in Fig.241. This 
may be drawn straight or slightly curved. 
The front is laid with Line 8 on the 
selvage, and if no seam is desired in the 
back, lay the center back line on a fold of 
the material. The front skirt section is 
front edge on the selvage and the back 




Fig. 344. 



laid with its 
skirt section 

with its center on the straight of the material. The 
center of each sleeve portion is also laid on the straight 
of the goods as in the close-fitting coat instructions. Trace 
all the lines and allow good, big seams when cutting. 

It is advisable to use an interlining to give body and 
firmness to the coat edges and to hold it out from the 
figure over the hollow places. If the material is silk the 
interlining may be of sateen, cotton serge or cotton henri- 
etta; if the material is linen then use the butcher's linen. 
French canvas is the best interlining for cloth and velvet. 
It is cut to shape around the armhole in the back, and 
across the chest in 
front, up to shoul- 
der line, but is cut 
away under the arm 
a s illustrated i n 
Fig. 245. If the 
standing collar is 
used the neck edge 
of the back should 
have a piece about 
t wo inches deep 
r u n n ing straight 
across the shoul- 
ders, but if the 
open neck is used 
it is finished with 




Fig. 245. 



Page Eighteen 



the flat collar facing which has an interlining itself. These 
pieces of interlining are basted in place on the front and 
back of the blouse before the coat is basted together. 

Run a gathering thread along the bottom of the 
fronts and back three-eighths of an inch from the lower 
edge, and another gathering thread about two inches 
above the first. Now baste the different waist sections 
together, being very careful to have the waistline meet. 
Cut a belt of both the material and interlining and baste 
the latter to the wrong side of the former. Cut the in- 
terlining away three-eighths of an inch from the edges of 
the outside belt and turn the outer edges over the inter- 
lining and catch them down to it. (See Fig. 246.) Place 
the belt over the blouse with its lower edge three-eighths of 
an inch below the lower edge of the jacket and baste both the 




Fig. 240. 

upper and lower edges in position, pushing most of the 
fullness of the blouse well toward the front and simply 
ease it into the belt under the arm and across the back. 

Try the coat on and pin fronts together on traced or 
marked lines. The upper part of the blouse should set 
easily over the bust and shoulders without wrinkling or 
drawing. The belt should be snug but not tight and should 
come at the natural waistline. If any changes are to be 
made, make them at the shoulder and under arm seam. 
If belt is too high or too low, lower or raise it until it is 
in correct position. Remove and baste in any alterations 
and try on again to make certain that it is right before 
stitching the seams. If the material is of heavy weight 
it can be cut away from underneath the belt after the 
blouse has been fitted and stitched, to avoid bulkiness at 
the waistline. 

The next step is to finish the front edges. Cut away 
the canvas interlining three-eighths of an inch from the 
front edges of the coat and then baste a cotton tape along 
the neck and front edges of the interlining. This tape 

Page Nineteen 



should be one-fourth inch in width and should be shrunk- 
en before it is used. Dip it in water and press dry. Turn 
the edges of the coat back over the tape and catch them 
to the canvas. When turning the neck edge, the cloth 
should be slashed occasionally so that it will lie flat. Put 
in two rows of stitching, one row about one-eighth of an 
inch from the edge and the other one-fourth of an inch 
from the first row. 

Hooks should be sewed securely to the edge of the 
right front and eyes to the edge of the left front — the 
hooks one-eighth of an inch back and the eyes one-eighth 
of an inch out. 

The flat collar and its interlining are cut to shape 
by that part of the front of the waist around the neck 
and down to the V-shape point in front. Baste the inter- 
lining to the cloth collar and then cut it three-eighths of 
an inch smaller on all its edges and turn the cloth edges 
over and catch to the interlining. Stitch all around the 
edge of the collar and then apply to blouse, pinning its 
neck edge so that it will just cover the neck edge of the 
coat. Baste it carefully in position, then blind stitch it 
to the blouse from the inside of the jacket. The blouse 
is now ready for its lining. Cut it by the same pattern 
as the coat and allow for the plait down the center back. 
This lining is attached to the blouse exactly like the lining 
in the coat in Lesson 12. The sleeves are also cut and 
made and put in according to instructions already given. 

Now baste the peplum or skirt portions together. 
Baste the upper edge of the peplum to the lower edge of 
the belt, having the bastings come about three-eighths of 
an inch above the lower edge of belt. Try the coat on 
and make any changes necessary. Do not fit it too tight 
over the hips. Cut a bias strip of cambric one inch wide 
and baste it along all the edges of the peplum. If the 
side seams of the peplum are left open at the bottom a 
part of the way, baste the cambric up on these open 
edges also. The cambric should be basted to the right 
side of the coat and stitched one-fourth inch from the 
edge. Be careful not to stretch the edge when basting the 
cambric on. Turn the free edge of the cambric over to 
the wrong side so that the seam itself will come one- 
Page Twenty 




Fig. 247. 



eighth of an inch from the fold and baste it in this posi- 
tion. Stitch one-eighth of an inch from the edge, and if 
preferred, another row may be put in one-fourth inch 
from the first row. Also stitch the belt at both its lower 
and upper edges with as many rows of stitching as de- 
sired. 

Cut a peplum lin- 
ing using the same 
draft or pattern as 
the peplum was cut 
and baste it in place 
and fell one edge 
over another in the 
usu^l manner. Also 
cut a belt lining, 
turn under its edges 
and fell them 
agaist the belt. (See 
Fig. 247.) 

If preferred, a little vest made of the same or con- 
trasting material may be used in front. This may be 
further ornamented by the use of buttons, frogs, etc. The 
jacket may be made to slightly blouse over the belt or 
drawn snugly under it. Extra length should be allowed 
for this as shown by dotted line in Fig. 241. 

Frequently a Russian blouse-coat closes on the 
left front as illustrated in Fig. 248. In this event 
the left front is cut as it is in the draft while the 
right front is extended over to the line from U to 
V in Fig. 241. That is, the left front will consist 
of the center and side front sections only, while 
the other or right front will be cut with Line 8 on 
a fold so as to get it with no seam down center 
front line. The manner of finishing is the same 
Pig. 248. a^g jjj lY^Q other coat. 

FUR AND FUR CLOTH COATS. 

The method of handling fur is not as difficult as one 

imagines if the proper method is used. It requires great 

care and much patience, however, as most skins, squirrel, 

mink, sable, ermine, etc., are small and it takes a great 

Page Twenty-One 




many of them to make a coat or even a good-sized muff or 
stole. Some people are apt to think that the pieces of pelt 
or skins are all sewed together into one large piece and then 
the pattern laid on as if one were cutting an ordinary by- 
the-yard material. Not so, as this method would require a 
great waste of the fur. The pattern is first cut in canvas or 
crinoline, put together and fitted very carefully. Then the 
sections are separated again and the pieces of fur are laid 
on the pattern and fitted together until they gradually as- 
sume the shape of the coat, muff or stole. The pelts are 
trimmed in to as regular-sized pieces as possible without 
wasting the fur. 

In laying the pelts on the canvas pattern, the hair of 
the fur should run downward in all furs with the exception 
of sealskin. There is a decided stripe in some furs, mink 
and sable, for instance, which must be matched as closely 
as possible. As the fur is matched, piece by piece, sew it 
together in a seam from the wrong side. An ordinary 
coarse needle and number 30 cotton thread should be used. 
Lay the pelts edge to edge and sew with an overhand stitch. 
(See Fig. 249.) Be 
very careful not to 
catch the hair in the 
sewing, but through 
the pelts only. It can 
be pushed back as far 
as possible to the right 
side, and after the 
pelts are sewed to- 
gether the fur can be 

brushed gently to 5^ ^^^- -^^• 

make the hair lie smooth which will conceal any evidence of 
joinings. 

After making all the seam joinings, dampen the seams 
then stretch the fur out smoothly on a fiat board and tack 
the fur to it. In short-haired furs the pelt side is placed 
up, but in the long-haired furs the pelt side is placed down. 
Leave the fur tacked on the board for about twenty-four 
hours or until the seams are thoroughly dry. 

Fur-cloths are handled differently from either fur or 
cloth. They are easier and more simple to make for the 

Page Twenty-Two 




reason that they require little or no tailoring and there is 
no tedious process of joining and stretching the skins or 
pelts. Fur-cloth compared to the genuine fur is extremely 
inexpensive, though it does not have the wearing qualities 
of the fur but a good fur-cloth coat will stand at least 
two years of hard service and can be worn with all kinds of 
dresses for all sorts of occasions. 

There are a number of cloth imitations of the different 
furs, and their prices range from three to fourteen dollars 
a yard for domestic manufacture. The imported, of course, 
are more expensive, ranging in price from six to fifteen dol- 
lars a yard. Among the imported fur-cloths there are 
good imitations of bear, beaver, pony skin, caracul and 
astrakhan. These materials are fifty inches wide and when 
one takes into consideration that it requires only four yards 
to make a coat, the price is not so exhorbitant after all. 
Coats of this character are usually lined with a rather 
bright-colored satin or brocaded silk as the fur materials 
are rather sombre and need a light, bright-looking lining. 
White or yellow satin, and light green, gray or blue bro- 
caded silks are the most attractive linings that one can use. 

Fur-cloth is not folded in any way, but each section of 
the semi-fitting pattern is laid on the material with the 
pile running downward in each piece. Lay the cloth out 
smoothly with the wrong side up, and after pinning all the 
pieces of the pattern on, cut off the length of cloth contain- 
ing them and lay it with its face to the face of the remain- 
ing piece, being careful that the pile is running downward 
in both pieces. Pin the two widths together smoothly and 
markstitch all the edges then cut through both thicknesses, 
allowing for seams. 

Fur-cloth is interlined throughout with cambric. This 
interlining is also cut by the pattern then laid inside the 
cloth and basted to it. Cut the canvas for the fronts and 
back in the same way as previously given, also the hair- 
cloth pad and put all together in a similar manner and fit. 
Make any changes necessary, rebaste, try on again and then 
stitch the seams and press, clipping them where necessary 
to make them lie flat. 

Page Twenty-Three 




Fig. 250. 



The collar is drafted the same as 
before, using either the notch or shawl 
collar. The stand part should be only 
about an inch in width, and to keep 
the turn-over part from cuffing up or 
"riding the neck," extend the shoulder 
line from P to the left until it touches 
the line from mm to jj, then cut on this 
line curving the edges just a trifle. This 
will make the entire collar in four pieces 
which must all be joined together and 
seams pressed open. (See Fig. 250.) 
Before joining them, however, inter- 
line them with buckram instead of can- 
vas because it is firmer and will help 
hold up the collar when it is rolled up 
around the neck. Roll the collar pieces 
over the hand into their natural position 
while basting the buckram to them, then join the pieces. 

In a fur or fur-cloth coat the basting takes the place 
of the padding and machine stitches used on an ordinary 
tailored coat. Baste the collar to the coat with the buckram 
side up. (See Fig. 250.) Try the coat on, rolling the collar 
in the desired position. If it sets satisfactorily, stitch it 
with a three-eighths of an inch seam. A fur or 
rfur-cloth coat should be fastened with cord loops 
and buttons. Use a heavy cord the color of the 
coat for the loops and tack them in position to 
the edge of the right front, three being sufficient 
to hold the coat together. The stitching of the 
facings will hold them securely. 

Next cut the facings of the cloth for the 
fronts and collar as described in the lined coats. 
The facings should have seams in them to corre- 
spond to those of the collar. (See Fig. 251.) 
After stitching these seams press them open. Lay 
the face or right side of the facing down on the 
right side of the coat and collar, and edge to edge 
with them and baste it three-eighths of an inch 
from the edge, (see Fig. 252), and then stitch. 
Fi-. 251. Remove the basting and turn the free edge of the 
Page Twenty-Four 




facing over to the wrong side of coat. Catch the facing to 
the coat about one-half inch from the seam all around so that 
it will not roll or wrinkle. Use a small stitch and coarse 
cotton thread the color of the coat and the 
stitches will sink into the pile of the fur 
and not be visible. Turn up the bottom and 
catch the edge of the cambric. 

Ordinarily fur-cloth coats do not re- 
quire an interlining, but if one is used, 
apply it in the same manner as previously 
given. The sleeves are also made and put 
in, and the entire coat lining cut and ap- 
plied as before. 

In most coats of this kind a pocket 
is sewed to the lining of the right front 
a little below the waistline. It is made of 
the lining material and applied similar to 
the patch pocket. It may be made plain 
or shirred at the upper and lower ends 
and put on with a heading. 
In making a genuine fur coat, choose as 
simple and conservative a style as possible, 
the coat, the fewer seams it has, the easier it is to make and 
the less likely it is to go out of fashion. 




Fig. 



The straighter 



AN EVENING OR AUTO CAPE. 





FlET. 253. 



Evening capes are 
usually forty-five or fifty- 
two inches in length. To 
cut a pattern lay the 
front and back drafts of 
the model draft together 
so that they meet on 
shoulder at armhole but 
spread three inches apart 
at neck curve, as shown 
in Fig. 254. Make a point 
on each side of the front 
shoulder line one-half 
inch from it on neck 
curve and from these 

Page Twenty-Five 




7\ 




Page Twenty-Six 



FIG. 254- 



points measure to the left and to the right re- 
spectively one and one-half inches and make two other 
points. From these points draw lines forming two darts 
extending almost to armhole curve as shown in Fig. 254. 
The point of the front dart should come about one and one- 
half inches from the front shoulder line. The point of the 
back dart should come about one-half inch from front 
shoulder line. 

Placing square along front shoulder line measure two 
inches to the left of neck curve and make A. Extend 
the center back and front lines until they are the desired 
length of cape and place B and C respectively at the ends. 
(See Fig. 254.) 

Make a slip-knot in the end of a piece of wrapping 
cord or twine and place point of pencil through the loop 
and draw the knot up close to the pencil. Holding cord 
firmly on A, swing pencil from B to C, drawing the curved 
line which forms the bottom of the cape. Be very careful 
not to let the cord slip from A or the line will not be a true 
curve. If a scalloped bottom is preferred instead of a round 
one, use the dotted lines as indicated in the illustration. 
Any number of scallops desired may be used. The most 
important feature is to have them all of a uniform size. 
This is done by folding the pattern so that B will fall on C, 
then fold again bringing the folded edge over to C. Crease 
well all the folded edges which will give the points of the 
scallops on the bottom line. This will make four scallops, 
but since this is only one-half of the cape, there will be 
eight in all. If more is wanted fold over the edges again. 
If cape is not wanted to fit close at the neck, draw a line 
from shoulder point at neck curve down to a point five or 
six inches below the neck curve on front line. 

The cape may be cut in either one, two or four pieces. 
To cut in one piece lay the center back line on a fold of the 
material. This will probably necessitate piecing on small 
pieces near the bottom of the center front line. If wanted 
in two pieces, lay the center back line on the selvages. 
This, of course, will make a seam down the center back. 
This method is preferable for the reason that there will 
need be no piecings. To cut in four pieces extend the 
front shoulder and back lines in the same gradual slope to 

Page Twenty-Seven 



the bottom of the cape as represented by Lines 3 and 4 in 
Fig. 254. It is a good idea to take three measures in this cape 
— front, back and a side measure from neck over shoulder 
on down to the floor. Line 1 is then drawn the back length, 
Line 2 the front length and Lines 3 and 4 the side length. 
Connect these at the bottom with a curved line. Cut the 
two sections apart by first cutting the front along Line 2, 
neck curve line, shoulder line, Line 4 and bottom line; then 
cut the back along Line 1, neck curve line, shoulder line, 
Line 3, and bottom line. When joining Lines 3 and 4, 
shape them a little rounding at shoulder point. 

Suitable materials for automobiling or steamer wear 
are rain-proof silk, cravenette, covert cloth, broadcloth and 
wide-wale diagonals. Rainproof silk comes in all the colors 
from the bright shades to the somber ones. 

To cut fold the material crosswise and lay the center 
front line on the selvages allowing about three-eighths of 
an inch for seams. Pin pattern on securely and trace or 
mark with tailors' chalk along all the edges and dart lines. 
Remove draft and markstitch all the lines. 

The most suitable materials for evening capes are 
broadcloth, satin, crepe, moire, ottoman and velvet. The 
two former materials are always fashionable and really 
more economical in the end since they may be used several 
seasons. They may be made plain or trimmed to suit one's 
own taste. Braid is used very much now, either in elab- 
orate or simple designs. Fancy collars are a very popular 
finish to these capes. They may be either pointed or 
scalloped or a sailor collar outline. They may be made 
of the same material as the cape or of contrasting color. 
Frequently a cape of broadcloth has a collar of the same 
material braided all over with soutache. Sometimes it is 
a braiding design, which follows the outline of the collar 
and that of the cape. Fur is often used also for the col- 
Jar and frequently for the entire cape. The colors range 
in popularity as those given for the evening coat. The 
darker shades are dull red, brown, Prussian blue, gold, 
green, gray and black. The lining for evening wear should 
be white, though contrasting colors may be used. A deep 
blue lined with red is a very popular combination. Capes 
for summer wear need no lining, therefore an allowance for 

Page Twenty-Eight 



hems must be made on all the edges. In making a cape with 
a lining allow only a seam's width on the edges. The ma- 
terials used for the lining should be of satin or silk. 
There are satins manufactured now that are specially 
wide for the purpose of linings. Silks are narrower, yet 
they come of sufficient width not to require much piecing. 
The same quantity of material is required for the lining 
as for the cape itself. 

In joining the pieces of the cape, spread them flat on 
the table and pin the edges carefully together, then baste 
them closely. Next baste the darts. Do not baste them in 
a straight line, but in a gradual curve so that their term- 
ination will be smooth, and will not puff. Use very short 
stitches in basting the darts. Try the cape on and if 
there is any adjustment to be made it must be at the 
darts and center back. After stitching the seams and 
darts, cut the dart seams or folds open so that they may 
be dampened and pressed. Press them on the edge of 
the ironing board so that it will not leave an impress on 
the right side of the cape. If the material is of silk do 
not dampen, but simply press with a warm iron. If a 
fancy collar is used, line and make it according to in- 
structions already given and baste it in position. It is a 
good idea to baste a bias piece of soft cambric about one 
or one and one-half inches wide to the edges of the cape 
to give it firmness or body, before basting on the collar. 
Shrink it, however, before cutting it. Cut it on the true 
bias so that it will stretch smoothly round the curves. In 
joining the strips do not make a seam, but lap one edge 
over the other and stitch. Baste the cambric just three- 
eighths of an inch within the edges of the cape and press. 

Now pin the collar in position at the center back and 
at the front ends so that the cut edges will come on the 
inside of cape, being careful to pin the edges so that they 
will not stretch or slip while basting. After basting roll 
the collar over and try on. If it fits smoothly, remove 
and stitch the collar, clip the seam edges round the curve 
of the neck so that they will spread when they are turned 
over on the cambric. Baste them down and press well. 

Turn over all the edges of the cape on the cambric, 
clipping them where necessary, and baste them; then 

Page Twenty-Nine 



stitch all around the cape about three-eighths of an inch 
from the edge and press. Of course, if no stitching is 
wanted to show through on the right side, the edges of 
the cape can be cat-stitched to the cambric instead. This 
will hold them just as firmly. 

Now the slash must be made for the hands and arms 
to pass through. If there is a seam over each shoulder 
the openings are left in the seams, but in case there are 
no seams, then the cape must be slashed. Try the cape 
on and indicate on cape at each side just where waistline 
comes and make the slashes at these points. That is, 
slash up about seven and one-half inches and down about 
seven and one-half inches as each opening should be about 
fifteen inches long. Turn under these edges three-eighths 
of an inch at the middle of the slashes and finish the ends 
of the slash with a piece of the lining as described in lin- 
ing and finishing the corners of the fancy collar. Baste 
and press these very carefully to avoid allowing the edges 
to ravel. If there are any trimmings or bandings used, 
put them on before the lining is put in, also the hooks and 
eyes. Alternate these, instead of having all hooks on one 
side and all eyes on the other, as it makes a fastening 
that will not open by itself. 

Now make the lining an exact duplicate of the cape. 
Turn in the edges of the slashes a trifle deeper than those 
of the cape, finishing ends as given above. Press the 
seams and darts open. Pin the lining to position down 
the center seam. Before basting the lining to position, 
sew the seam edges of lining and cape together with a 
running stitch. This will tend to hold the lining firmly 
in position. 

Baste the lining smoothly to the cape around the 
outer edges and round the edges of the slashes. To do 
this properly, spread the work out smoothly on a table. 
Turn under all the edges of the lining and fell them down 
neatly. Slip the lining under the prongs of the hooks and 
cover the sewing of hooks and eyes. Make all these fell- 
ing stitches as invisible as possible. Several rows of 
stitching round the edges of the cape are often used as 
a trimming. 

Page Thirty 



QUESTIONS. 

1. Fully explain one method of marking, cutting and 
putting in of pockets. 

2. In making fancy collars, describe how the ends and 
curved seams are finished. 

3. How is the canvas cut and put in the front and back 
of an evening coat? 

4. How are the front and bottom edges finished? 

5. (a) How is the interlining cut and attached? (b) 
The lining? 

6. What changes are made in the semi-fitting coat 
draft for the Russian blouse-coat? 

7. How is the skirt portion or peplum cut? 

8. Describe fully how the belt is interlined and at- 
tached to waist portion. 

9. Explain how the skirt portion is made, finished and 
attached to belt. 

10. (a) In what way does the cutting of fur coats dif- 
fer from the ordinary coat? (b) How are the joinings 
made? 

11. How are the different sections of the draft laid on 
fur-cloth and cut? 

12. In what way does the collar and its facing differ 
from the ordinary collar? 

13. (a) After drafting an evening or auto cape, how 
is it cut in two pieces? (b) In four pieces? 

14. How are the openings or slashes for the arms cut 
and finished? 

15. How is the lining cut and put in? 

Pag'e Thirt3^-One 



THE 

AMERICAN SYSTEM 

OF DRESSMAKING 



A Course of 

Instruction by Mail 

in the 

Science and Art 

of 

Successful 

Dressmaking 

And Ladies' Tailoring 



Lesson No. 14 



The American College of Dressmaking 

(Associated Training Schools, Proprietors.) 

KANSAS CITY, MO., U. S. A. 



Copyrighted 1906, 1907, 1908 and 1909 
by J. M. Stelle 

Copyrighted 1910 and 1911 
h^ Associated Training Schools 



Jill rights reserved. 



Printed in the United States. 



%))t 



American s^p^tem 
of Bre00ma6in5 



TAUGHT ONLY BY THE 



amertcan Collrge of Bressmafetng 
Hansas Cttp, jHo. 

Miss Pearl Merwin, Supervisor. 

Lesson No. 14 

THE PRINCESS. 

For medium-sized measures use the semi-fitting coat 
draft as given in Lesson 12, but do not add the two inches 
to bust line, or the half inch in getting the length of Line 13, 
or when locating. , Simply use one-half of original 
bust measure, also one-third of the length from G to J and 
from D to H respectively. For large measures use the 
tight-fitting coat draft without adding any additional to 
the bust measure. Extend the lines below the hip-line until 
they are the desired length. The skirt measures are taken 
according to instructions given in Lesson 7 for taking 
skirt measures. By using the semi-fitting coat draft it will 
make a seven-gore princess; the tight-fitting will make a 
nine-gore princess. Fig. 58 in Lesson 2 will make a good 
princess draft also for large figures as it may be made an 
eleven-gore princess by omitting the line from U to Y and 
drawing it from ss to Y ; then draw a line from U to arm- 
hole curve, letting it meet the armhole curve just a little 
above the point where it strikes Line 11. In some large 

Page Three 




FIG. 255 



Page Four 



measures where the waist is quite large it may be necessary 
to insert an inch dart in the center of the side-front section 
as described in the tight-fitting coat. (See Fig. 255.) In 
this case make X one and one-half inches from W instead of 
one inch. 

For a fifteen gore princess, draft a pattern outline as 
given in Fig. 58, Lesson 2, and divide the bust line into 
eighths and the shoulder line into fourths. Place aa and 
bb at the first and third division points on back shoulder 
line, (see Fig. 256), and connect them with the first and 
second divisions on the bust line, or, connect aa with I, and 




Flgr. 256. 



bb with ii as shown in Fig. 256. Place U and V at the first 
and third divisions on front shoulder line. 

For the sake of uniformity we will make all the sec- 
tions the same width on the waistline by using one-eighth of 
one-half the waist measure for the width of each section as 

Pag-e Five 



there will be eight sections on the half draft, making fifteen 
in whole waist as front section is laid on a fold when cut- 
ting the material. In this instance the waist measure is 
twenty-six inches and one-half of it is thirteen. One-eighth 
of thirteen is one and five-eighths inches therefore make R 
as shown in Fig. 256, one and five-eighths inches from 
Line 8 on Line 13, and draw Line 9 from U to R. Place S at 
the point where it crosses Line 12. Make X one-fourth 
the distance from G to J from S on Line 12, then draw a 
line from V to X. From R measure to the right one inch 
and make W and draw a line from S to W, which will give 
the width of the front dart. From W measure to the right 
one-eighth of one-half waist measure or one and five-eighths 
inches in this instance and make Y and draw a line from 
X to Y. 

From the fourth division point on bust line draw Line 
14 the length of under-arm measure and connect it with the 
bottom of Line 1 and mark it Line 15. (See Fig. 256.) 
Place kk at the lower end of Line 14. Make Z one-half inch 
to the left of lower end of Line 1 and draw Line 16 from Z 
to B. 

The width of all the sections on Line 15 are made, as 
stated above, one-eighth of one-half the waist measure, or 
in this case, one and five-eighths inches. The amount taken 
out in darts at the bottom of the sections is one inch be- 
tween cc and dd; three-fourths of an inch between ee and 
ff; three-fourths of an inch between gg and hh; one-half 
inch between j j and kk ; one inch between kk and LL and one 
inch between mm and nn. Draw Lines 17, 18, 19, 20, 21, 22, 
23 and 24 like corresponding lines in coat draft or Fig. 58. 
Placing C Curve at armhole curve on a point about an 
inch above where it strikes Line 11 and letting edge of 
armhole curve fall on nn, draw Line 25 from armhole curve 
to nn. Place pp at the point where Line 25 crosses Line 3 
or bust line. To draw Line 26, place square so that A 
Curve will fall one inch below pp and edge of armhole 
curve on mm and draw the line from mm to pp. Draw 
Line 27 from oo to X by placing A Curve on X and edge 
of armhole curve on oo. Draw a short curved line at X to 
take out the angle there. (See Fig. 256.) 

In some measures where the waist measure is large 

Pa^^e Six 



in comparison with other measures or where it is small in 
comparison, the sections of the back may swing too far to 
the right or to the left. The best way to obviate this is to 
make the center of each dart on waistline immediately below 
its top on bust line then take out an amount necessary to 
make each division one-eighth of one-half the waist measure. 
The lines are extended below the waistline similar to in- 
structions already given. 

The sections of each of these different gored princesses 
are traced and cut according to instructions for tracing 
and cutting the coats. The front is laid on the material 
so that Line 8 will come on a fold. The other sections are 
laid so that the center of gores are on the straight of the 
material. After pinning pattern on carefully mark all 
around the edges with tailors' chalk, remove pattern trace 
or mark stitch all the lines and cut allowing three-fourths 
of an inch for seams. 

A princess dress in cloth or a non-transparent ma- 
terial does not really require a lining. It is advisable, how- 
ever, to use a lining for the reason that it protects the dress 
and rather improves its set, making it fit up close and snug 
to the figure. The lining is made entirely separate from 
the outside material, and should extend about six inches 
below the waistline in closely woven material, while in 
transparent it should extend to the bottom of the dress, 
forming what is called a princess slip. Cut the lining by the 
princess draft allowing for hems. 

The corresponding seams of the lining are joined to- 
gether, the hems turned under, fitted and stitched in the 
usual way. Be careful not to fit the lining too close, for a 
perfect fit is never tight or strained at any point. The 
seams should be notched from an inch below the waistline 
to five or six inches above it, then bound and boned. The 
bones should extend the length of the notches on the seams, 
and are put in according to instructions given in Lesson 4. 
for boning. The hooks and eyes should be sewed on alter- 
nately and should be about one and one-fourth inches apart. 
A belt tape is sewed to the lining at the back with its lower 
edge one-half inch above the waistline. 

Page Seven 



Next join the sections of the material together — the 
center front and its side sections, then the center back and 
its side sections and lastly the under-arm and shoulder 
seams, being very careful to keep the waistlines of all the 
sections together. Baste from the waistline up and from 
the waistline down. If any plaits are wanted, they must be 
allowed for in the cutting the same as given for skirts in 
Lesson 11. 

Try the dress on over its lining, bringing the corre- 
sponding seams of both together. See that it sets smoothly 
and easily over the bust and shoulders. Fit it at the waist- 
line and hips snug and rather closely, but not tight. Let it 
touch the figure but not strain or confine it. In fact, the 
chief difficulty that most amateur dressmakers have with 
princess dresses comes from fitting them too closely. 

After fitting, remove and baste in any changes made 
then stitch, and try on again over the lining and pin the 
two together securely at the seams. After removing, they 
should be caught together by tacking. The stitches 
should be taken from the wrong side close to the seams so 
that they will not show on the outside of the dress. Baste 
the armhole edges of the dress and lining together, also 
the neck edges and finish the neck with a bias band. Baste 
the seams of the sleeve together in the usual manner. They 
may be made full or three-quarter length. If made full 
length fit it closely to the arm below the elbow, and then 
leave the outside seam open for three or four inches at wrist 
and fasten it with small hooks and eyes or loops. This is a 
much more shapely sleeve than one that is made large 
enough at the wrist for the hand to slip through. The 
sleeve may or may not be lined. It is sewed into the arm- 
hole in the usual way. 

The bottom of the dress is either hemmed or faced. 
If the latter, cut it on the bias and join all the pieces and 
apply it the same as instructions given for facing a skirt. 
It is advisable to finish it with a skirt braid to prevent it 
from cutting and fraying out. The braid must be shrunken 
before it is used otherwise it will shrink of its own accord 
when wet or damp and cause the skirt edge to draw. 

Page Eight 



If a long-waisted dress is desired, cut the gores off 
about twelve inches below the waistline. The lower part 
then usually consists of plain widths joined together and 
plaited on to the upper part. The front section is often 
left in one piece and is termed a "panel front;" likewise, 
the back may be left in one piece, forming a back panel. 

The semi-fitting princess dresses differ from the tight- 
fitting ones in that they do not fit so close at the waist or 
hip lines and an allowance must be made on the seams 
accordingly. They should fit a little closer, however, over 
the hips than at the waistline. The seams are readily 
put together as they are almost straight. In these, as 
well as in the tight-fitting princess dresses, it is all- 
important that the sections are laid on the correct grain 
of the material. It would be an irremediable mistake to 
cut any of the pieces off the correct grain, even though 
it would require more material. The center of each gore 
is laid on the straight or a lengthwise thread of the 
material, that is, parallel with the selvages. Be very 
careful to pin the pattern in many places to the material 
before cutting to avoid slipping. The semi-princess is 
often made with long-waisted effect, panel front and 
flounce. 

Broadcloth, serge, worsted weaves and the panamas 
are all appropriate for this style. The dress may open 
at the center back or at the left of center front. In 
putting the different sections together, nearly everything 
in the upper part can be finished before the flounce is 
added. First, pin and baste the panel front and side 
front seams together, basting from waistline up and 
from waistline down. Next baste the center back sec- 
tion to the side back sections from waistline up and 
from waistline down. If the dress opens at the center 
back, there will be two back sections. Lastly, join the 
shoulder and under-arm seams and try on. Pin the backs, 
having them correctly lapped. Then, if the fit is not 
perfectly smooth, the alterations can probably be made 
at the shoulder and under-arm seams. If there are wrin- 
kles anywhere, clip the bastings and smooth the material 
by passing the hands over the figure, allowing the garment 
to set easy. Then pin the seams in the corrected position. 

Pa_o^e Nine 



Do not disturb the side front and side back seams unless 
it is necessary to make the panels straight. Keep the 
armholes as small as possible, though not too snug. Clip 
the armhole edges if they are disposed to wrinkle, and 
after removing the garment the armhole can be cut away 
to the depth of notches made. Slip the dress on again, 
to make sure the changes have been correctly made, then 
stitch and press the shoulder and under-arm seams open. 
The seams joining the panels and side sections are pressed 
together on one side. Bind or overcast the edges. 

For making the flounce, sew together the several 
widths, and then plait them, making the plaits the desired 
width. Baste each of the plaits in position, then press 
on the wrong side, using a wet cloth and a moderately 
hot iron. Bind the top edges of the plaits, also run a 
piece of tape across them about a fourth of the way 
down, and tack each plait to this tape. This is called 
taping the flounce, and always assures their remaining 
in position as long as the dress is worn. Adjust the 
flounce to the bottom of the dress, sewing the corre- 
sponding seams together on the sides and extending the 
bound or top edge of the plaits up under the body part 
and basting it into position. The joining together of 
the body and top of plaits may be concealed by a tuck, 
or fancy braid, or the edge of the upper part may be 
turned under a seam's width and then stitched down to 
the plaits. Try the garment on again, and fit the sleeves, 
which should have previously been made. Mark the length 
at the bottom, remove dress, baste and stitch the sleeves, 
also finish the bottom either with a hem or facing. Bind 
the arm.hole. The neck may be finished with any kind of 
collar desired. These dresses may be ornamented with 
braid, trimmings of velvet, or with bretelles over the 
shoulders. 

A PRINCESS SLIP. 

It makes no difference how well made and carefully 
fitted a princess dress may be, it is sure to look badly if it 
is worn over poor corsets and bulky underclothes. Nowa- 
days women are prone to buy much of their underwear 
ready-made as it is a great time-saver and comes in the 

Pasre Ten 



fine sheer materials very handsomely trimmed. They have 
this objection, however, that they are made with plenty 
of fullness across the back and tied with drawstrings around 
the waist which would ruin the most perfect-fitting gown, 
and if the ridges and wrinkles from these badly fitting 
undergarments show through, then the dressmaker is sure 
to get the blame. 

Under a princess dress therefor^ one should, if possible, 
wear a princess slip, or combination garments. The making 
of the latter is given in a future lesson. A princess body 
of washable material which stops above the knees and to 
which one could button any kind of a silk, satin or lingerie 
flounce, is undoubtedly the best type of petticoat for the 
princess dress. The same upper will answer for all the 
flounces and one can have as many of the latter as she likes 
— a moire or sateen flounce for every day, a short gingham 
flounce for rainy weather, a silk flounce for the best suit, a 
satin flounce for an afternoon gown, lingerie flounces for 
lingerie dresses, and so on. 

The upper part can be made of long-cloth, nainsook or 
batiste and trimmed with hand embroidery, scalloping, val- 




Flg. 257. 



Page Eleven 



enciennes laces, linen torchons or swiss edges and insertions. 
The lingerie flounces can be made of any of the lingerie 
materials and trimmed with lace or embroidery, or they 
may be made of embroidery flouncing. 

If the slip is to be used under lingerie dresses then the 
best materials, of course, are China and taffeta silks and 
very soft satin and messaline. The delicate colors of pink, 
blue or yellow lawns are also used for slip purposes. The 
best quality percalines and soft linings will answer very well 
where the matter of economy enters into it. 

Use a nine-gore princess draft for cutting the slip, so if 
made out of the narrow silks it can be cut to a good advan- 
tage. There are several ways of finishing the bottom, but 
care should be taken not to make it bulky around the feet. 
Dresses are very narrow now and therefore require narrow 
petticoats. The side-plaited flounce is a very popular trim- 
ming because the plaits can be pressed flat and made to fall 
in straight narrow lines. 

If a deep flounce is used the skirt can be cut away 
underneath it or else it can extend to the bottom and be 
trimmed with a shallow accordion-plaited ruffle. Or, if the 
deep flounce is not wanted it can be discarded entirely, us- 
ing only the dust ruffle. Or, the bottom of the skirt can be 
trimmed with two narrow plaited ruffles set one above the 
other. Fig. 257 shows four different methods of flnishing 
the bottom of a princess slip, also four different methods of 
finishing the neck. 

The sections are cut and put together the same as the 
princess. The prettiest and daintiest way to finish the 
seams of lingerie slips is with narrow veining. It is a 
very narrow embroidery beading about a sixteenth of an 
inch wide. It is not difficult to use but requires quite a little 
while for the work should be done entirely by hand. After 
the slip is basted and fitted, trim the seams down to within 
one-eighth of an inch of the bastings. Then remove the 
bastings and roll the raw edge of each seam between the 
thumb and forefinger making the roll on the outside of the 
garment. Only roll it enough to conceal the raw edge. Trim 
the muslin away from the veining and whip the rolled edge 

Pasre Twelve 



of the seam to the edge of the veining. The stitching must 
be taken very close together and should be done with No. 100 
or 120 cotton thread. Do not let the raw edge be- 
come unrolled as the work is being done and be careful not 
to stretch the seams. 

French seams may be used instead of the veining. 
They are more generally used and require much less time 
than the veining. After the seams are finished then the 
placket opening must be finished with an over and under lap. 
Hem or face the bottom and finish it in any of the ways 
shown in Fig. 257. If the different flounces are to be 
used, sew small pearl buttons to the lower part of the 
slip on which to button the flounces. They should be set 
about two inches apart and will require about thirty but- 
tons. 

If the flounce is made of embroidery all that is to do 
is to plait it and set it into a band. But if it is made of lin- 
gerie materials it should be trimmed with tucking, lace, 
embroidery or scalloping. After basting it into the band 
and stitching, work buttonholes up and down in the band 
to correspond with the buttons on the slip. If preferred, 
the band can be covered with a strip of embroidery sewed 
to the slip with the upper edge of the embroidery just 
above the row of buttons. The lower edge is left free. 
(See Fig. 257.) It is a good idea to stitch a bias strip 
around the slip on the wrong side where the buttons are 
to be sewed which will prevent their tearing out easily. 
If an inverted plait is desired, allow for it and lay it in posi- 
tion the same as directed for skirts. 

WRAPPERS. 

Nearly every woman nowadays prefers a comfortable 
negligee to a house-gown, for early morning wear. The 
old-time objections of untidiness cannot truthfully be put 
forward against the up-to-date negligee, be it wrapper or 
dressing-sack. These are usually adjusted to the figure 
at the waistline with a belt or ribbon girdle, while the 
loose wrapper and kimono is reserved almost exclusively 
for lounging or bedroom wear. 

Pasre Thirteen 



While a wrapper does not require so much care and 
attention in its fitting, and is much easier to make, still 
there is a tendency toward elaboration and dress effect 
in some of them that demands careful treatment as the 
work advances. Usually only the waist is lined, but the 
lining may be left out entirely. 

To make a . wrapper pattern, lay the front and side 
front of the close-fitting seven-gore princess together from 
the shoulder down to top of dart and let the bottoms lie as 
they will. Cut these two sections in one piece by following 
the neck curve, shoulder line, armhole and down the under- 
arm seam. Line 8 should be laid on the selvage, allowing 
for a hem. Lay the center back and side back together 
in the same way, placing the center back on a fold of 
the material, and cut these two sections together. Re- 
member to allow for all seams. Extend the gores down 
the desired length and add sufficient flare to give proper 
width. If lined, baste the material to the lining before 
joining the seams. If preferred, the wrapper may be 
made with a yoke in both front and back. The yoke 
may be plain or tucked. The neck may be high and fin- 
ished with a roll collar as given in Fig. 122, Lesson 6, 
or it may be low and finished with a fancy col- 
lar. A very pretty collar may be made in the 
sailor style with the back and the fronts pointed. 
This may be further trimmed with narrow lace slightly 
fulled on. A pointed bertha makes a very pretty finish, 
or if the wrapper is made of dimity, foulard or silk, wide 
lace may be fulled in around the yoke. Either hem or 
face the bottom. Trim with ruffles around the bottom 
if desired! Bias bands make a pretty finish; also a wide 
flounce is usually becoming. The opening or placket, 
down the front is finished by sewing a straight strip 
about two inches wide clear around the opening. Face 
the right side down to the wrapper as a faced hem and 
finish the other side and leave out for a fly. 

The fastenings in the front are usually invisible by 
being arranged under the hem. The lining fronts are 
fastened separately with hooks and eyes. If you want a 
belt, cut it two inches longer than the waist measure. 
Cut a lining the same size and turn the edges of belt and 

Pasre Fourteen 



lining together and stitch. If you prefer the belt to lap 
in front, cut it about five or six inches longer than the 
measure. The sleeves are usually made bishop style, and 
may be made in full or shorter length. 

DRESSING SACKS. 

Use the same drafts as given in Lesson 2 
and mark on the draft the depth of the yoke, then if you 
care to, you may cut the yoke part off at these marks and 
use this for the yoke pattern. Cut the skirt portion twice 
the width of the yoke, both front and back. They may be 
cut any length desired. If it is to be fastened down at the 
waistline, it should be cut a little longer than if left to 
hang loose. If fastened to the yoke with a heading, allow 
extra for this when cutting. Cut a small gore off of each 
front section on the under-arm seam, making the top two 
inches narrower than the bottom. When fastening the 
front portion to the yoke, let the skirt portion extend out 
about three inches at the armhole and the back skirt por- 
tion about one inch. This is to form the balance of the 
armhole, which must be shaped by that part of the pattern 
which was cut off from the yoke at first. 

The fullness of the skirt portion may be either gath- 
ered or plaited and stitched on to the yoke. A dressing 
sack may be cut without a yoke and the fullness both in 
front and back arranged from the neck and shoulders by 
tucking or plaiting the material before cutting. Lay the 
tucks or plaits on down to the bottom of the garment 
before the pattern is laid on, then when stitching, stitch 
the depth desired. This will keep the sack from drawing 
across the bust. Any style sleeve and collar may be worn. 
A pretty effect is obtained by putting a ruffle of the 
material or lace or embroidery around the yoke. 

If you prefer to finish the dressing sack off in kimono 
style, cut the neck out in front from the shoulder to a 

Page Fifteen 



point three or four inches down from the center of the 
neck. Then baste on a bias or a straight strip about six 
or seven inches wide. Begin at the bottom, place the right 
side of the strip on the wrong side of the sack and baste 
up the front, around the neck and down the other front. 
Turn this over and turn in the edge and baste it down 
so as to cover the seam just made, and then stitch. The 
one stitching is sufficient to catch both edges. When 
worn this strip is turned down around the neck and as 
far down as desired where the fronts are overlapped. 
Use the short sleeve and leave it loose at the bottom. Face 
them on the right side with a two-inch band the same color 
as the strip around the neck and down the fronts, which may 
be of contrasting color. 

MATCHING FIGURES AND PLAIDS. 
The effort to match fig- 
u r e d, checked, striped or 
plaid material in cutting 
and fitting is sometimes a 
very difficult matter, and 
some very unsatisfactory re- 
sults are often obtained; yet 
it is a very simple and easy ^— -— - ""^^2^ 
matter if a few points are 

borne well in mind. Select one position for the figures 
or flowers, and in the latter the stems usually run down- 
ward. When cutting a garment where several widths 
must be joined as in a circular or shirred skirt, it is of 
the utmost importance that the pattern or figures on the 
material should be matched, and oftentimes this cannot 
be done when the widths are simply joined at the selvages. 
It will sometimes be necessary to lap the second width 
some little way over the first in order to find the corre- 
sponding figures. When this is done, turn in the edge of 
the second width and pin it to the front or first width. 
Proceed in the same manner to join the other widths for 
both sides of the skirt. Slip-stitch the widths together 
from the outside. This is done by slipping the needle 
along inside the turned-in edge of the applied width, and 
then taking a stitch in the under width. When the skirt 

Paee Sixteen 




is turned wrong side out, the slip-stitching will be found 
to form the basting of the seam. (See Fig. 258.) 

When purchasing plaids, an extra quantity will 
always be required beyond that needed for a plain 
material gown of the same design. When cutting, be 
sure to keep the waistline of each piece on the same line or 
section of the plaid. If a seamed waist, the plaids must be 
matched both ways. Place Line 19 of the back in the center 
of a plaid. To cut the side back, place its waistline on the 
same section of the plaid as the waistline came on in the cen- 
ter back. This will give a back with an unbroken plaid 
after it is seamed. Lay the bust line in the front portions 
on the same section of the plaid as the bust line of the back 
portions. 

GARMENTS FOR MATERNITY WEAR. 

Garments for maternity wear should be so designed 
that they may be adjusted comfortalby to the ever-changing 
figure, and yet retain as trim and tidy an appearance as 
possible. The first requisite is perfect comfort. The sec- 
ond is that they should be attractive and becoming. The 
extra work this entails is well repaid by the comfort given 
and the feeling that one is properly clad. For hygienic 
reasons as well as for comfort, the clothing must be ar- 
ranged so that no undue pressure will rest upon any part 
of the body. The natural feeling of depressed spirits at 
this time is somewhat calculated to lead one to become more 
careless about her personal appearance. However, some 
women are very sensitive about their appearance, and the 
consciousness that they are looking badly frequently pre- 
vents them from going out and taking the proper exercise 
and amusement at a time when it is essential and necessary 
that they should keep their minds and bodies in a whole- 
some condition. There is really no excuse or reason why 
they should not go about much of the time if dressed suit- 
ably. The old, recluse-like banishment that women formerly 
accepted as their lot is rapidly becoming one of the anti- 
quated ideas that belong to a less enlightened age, and the 

Page Seventeen 



change is certainly for the bet- 
ter, both for the mother and the 
offspring. 

Fortunately, the Empire 
styles and semi-fitting coats 
which are always popular and 
in fashion make it possible for 
a woman to be smartly dressed, 
yet at the same time they con- 
ceal the figure perfectly without 
pointedly declaring their pur- 
pose. Fig. 259 is an excellent 
model for a house dress and can 
be put to any number of uses. 
Low-necked and with short 
sleeves, it makes a graceful sort 
of dress for home dinners in any 
soft material — crepe de Chine, 
chiffon, mull, batiste, etc., etc. 
High-necked it makes an appro- 
priate day dress in the pretty 
summer materials, and for fall 
and winter in wool batiste, cash- 
mere or henrietta. 

The skirt should be made 
rathel- full and gathered at the 
top. Some prefer to tuck it but 
the gathers are softer and more 
disguising. Make the waist 
over a fitted lining which should 
be of some very strong material. 
A good quality percaline is bet- 
ter than a silk lining for wear- 
ing qualities. After basting and ^^s- 259. 
fitting the lining, press open the under-arm seams and bind 
them. For the other seams cut four strips of lining on the 
bias, making each strip about three and one-half inches 
wide and a little longer than the side seams of the front 
and back. Baste one strip to the under side of the side 
front seam with the raw edges together and stitch it three- 
eighths of an inch from the edge. This forms a small 
Page Eighteen 





Fis. 260. 



plait under each seam. (See Fig. 260.) When basting on 
the strip be careful to ease it over the 
bust on the outer edge of the side 
seam. In sewing the other edge of 
the strip to the inner edge of the 
seam, stretch the edge of the strip at 
the bust to make it easy over the {^ 
curve of the figure. Remove the bast- 
ing threads that hold this side seam 
and sew back three-eighths of an 
inch from the edges. This gives a 
small fold on which to work the eye- 
lets for the lacing of the fronts. 
Baste the other bias strips on the side 
seam of the other front and also on 
the side-back seams in a similar man- 
ner. They are laced together instead 
of being stitched. The edges of the 

center-front closing are underfaced with 
bias strips and worked with eyelets. (See 
Fig. 261.) The edges of the center back 
seam are closed in an ordinary seam. 

The eyelets should be placed about one 
and one-fourth inches apart and a quarter 
of an inch from the edge of the fold. (See 
Fig. 260.) They are made with a stiletto 
and worked with the buttonhole stitch. 
They should be laced with a cord or elastic 
so that they can be easily let out. After working the eye- 
lets it is a good idea to bone the front seams just back of 
the line of lacing. The other seams are boned in the usual 
manner. The folds or drapery over the shoulders may ex- 
tend almost to the bottom of the skirt both behind and 
in front. 

Figs. 262 and 263 represent three styles of the Em- 
pire admirably adaptable for wear during this period. The 
pointed effect in the back is good, as well as the little Bolero 
effect in Fig. 264. 

A surplice waist is a very becoming style, also a model 
having a bertha collar or stole ends extending to the waist 
will be found to assist in concealing the figure. Negligees 

Page Nineteen 




Fig. 261. 



made of becoming materials and a pretty touch given by 
the addition of lace, insertion, embroidery and ribbon will 
make one appear attractively gowned. The soft wool or 




Fig. 262. 

silk, and plain solid colors are better and more appropriate 
than figured materials. 

Shirtwaists are rather trying, particularly the plain 
ones, so in summer when thin ones are desired, the selection 
of a model that has plenty of fullness across the bust and 

Page Twenty 




in the back, will tend to make the increased waist size less 
apparent. 

Underwear should be as light weight as comfort re- 
quires, and drawers and petticoats may be 
made adjustable by hemming or facing the 
tops and a tape run through the casing thus 
formed. A loose-fitting corset cover so con- 
structed that it can be drawn in at the waist- 
line and top by ribbons run through cas- 
ing or beading, will be more satisfactory 
if a loose waist is worn. If one has been 
accustomed to wearing a corset continually 
before this time, it is not necessary that she 
entirely discard it now. It is rather difficult, 
however, to find a satisfactory corset, but 
the ones now made especially for maternity 
wear and laced in front, are quite comfort- 
able and serve as a support for belts and 
bands. They are soft and pliable, and since 
the lacing is in front, it can be easily ad- 
justed to suit the wearer. P,g 3^3 

Another useful garment and one most 
important is a suit of some kind for out- 
of-door wear. The most suitable skirt for 
wear at this time is one with some full- 
ness at the waist and 
hips, and a maternity 
skirt, to be entirely sat- 
isfactory, must have this 
allowance made when it 
is cut. A deep plait at 
each side of the front 
width, or three small 
ones. Fig. 265, will allow 
for increasing the waist 
and hip size, and it is ad- 
visable to allow an extra 
plait at each side of the 
center-back also. The 
skirt should have the 
usual inverted back plait, and the extra plait on each side 

Page Twenty-One 





Fig. 264. 



Flgr. 265. 



is laid directly over this and then as the size of the waist and 
hips increase, the top plaits are let out without making the 
skirt hang scant in the back. The nine-gore skirt makes 
a good model for this purpose. 

An arrangement permitting lengthening the skirt at 
the front and sides is as of much impor- 
tance as the provision for extra width. 
The skirt should be cut so that its front 
gore will extend above the waistline three 
and one-half inches, and its first side gore 
about three and one-fourth inches, and its 
second side gore two inches, sloping off 
gradually toward the back gore. (See 
Fig. 266.) In fact, allow each gore to 
extend up far enough above the waistlme 
to run a casing around the top for a tape 
or a draw-string. (See Fig. 267.) The 
casing should be a bias strip of lining ma- 
terial, about five-eighths of an inch wide 
after each edge is turned under. After 

basting the 




FIgr- 266. 




.-'"^^ 




seams of the 
skirt, baste the 
inverted plait 
in position at 
each side of 
the placket. 



Fig. 267. 

Top Part of Skirt with Extension, Adjustable 

Casing and Arrangement of Plaits. 



Try the skirt 
on and pin the 
front plaits in 
position, making the seam that joins the front and first side 
gore form the under fold of this plait, and having the 
outer fold turn toward the back. Next pin the extra 
plaits in position on top of the inverted plait at each 
side of the center back. Notice carefully that the skirt 
is lowered sufficiently at front and sides to give an even 
line at the bottom with the back widths. 

Now pin a tape around at the waistline and then 
remove the skirt and trace or mark with colored thread 
at the lower edge of the tape, after which remove the 
tape. Stitch all the seams and press them open except 

Page Twenty-Two 



those that join the front gore to the first side gores. 
Baste the casing to the inside of the skirt, having its 
lower edge even with the tracing or colored thread that 
marked the position of the tape. Do not extend the cas- 
ing across the seams at each side of the front gore, but 
turn under the raw edge and let it finish on both the 
side and the front gores before the seam is reached. Hem 
the casing in place with loose stitches. Make openings 
across the casing at the place where the seam will come 
when the plait in front is laid on each side, then overcast 
or buttonhole these two openings. Run ribbon or tape 
through the casing, allowing one piece to cross the front 
gore, the ends coming out through the buttonholed open- 
ings. Run a piece of tape into the casing at each side, 
starting at the center back, where it should be tacked se- 
curely, and letting an end hang from the open end of the 
casing just back of the front seam. Tying these two 
ends of tape together will hold the plait in place on the 
inside of skirt while the outer fold may be held by a 
hook and eye or a loop. As the skirt begins to shorten 
across the front and sides, move the casing up toward 
the top. The hook and loop should be moved up also, 
placing them at the new waistline formed by the casing. 
Overcast the raw edge of the material at the top of the 
skirt on the front and side gores, in order to avoid the 
extra thickness that would result if it were hemmed or 
bound. The extra plaits at the back may be arranged 
similar to those in front or a short length of facing may 
be added at the back when they are let out. It is a good 
idea to place about three hooks on the inside of the top 
of the skirt at the back, and three eyes or covered rings 
on the outside of the waist. These will hold the skirt up 
nicely and prevent any separating of skirt and waist. 
If one does not care to go to this much trouble in the 
preparation of such a skirt, just run a tape through the 
casing that will extend around the figure and let it come 
through a small buttonhole opening in the center front 
where the ends can be tied. There are also Maternity 
skirts provided with adjustable extensions for both length 
and width, which can be purchased readymade. 

Page Twenty-Three 



The semi-fitting coat given in a previous lesson is an 
excellent model for wear at this time because of the fact that 
it hangs from the shoulders and fits loosely over the hips. 
The long loose coats made of pongee, shantung, Rajah, 
light-w^eight broadcloth, taffeta and linen are also good as 
well as serviceable. 



QUESTIONS. 

1. (a) What changes are made in the semi-fitting 
coat draft for a seven-gore princess? (b) What changes 
are made in the three-piece back and two-dart front draft 
for an eleven-gore princess? 

2. How are the shoulder, bust and waistlines divided 
in the fifteen-gore princess? 

3. (a) How is the princess and its lining joined to- 
gether? (b) How is the bottom finished? 

4. (a) How is the long-waisted dress cut from this 
draft? (b) How is the flounce or lower portion of the 
semi-princess made and attached? 

5. (a) In what ways may the princess slip be changed 
so as to make it appropriate for wear with all dresses? 
(b) Of what material should it be made? 

6. (a) How are the front sections of the princess 
draft arranged for a wrapper? (b) The back sections? 

7. How is a dressing sacque cut? 

8. (a) How is the best way of matching figures in 
certain materials? (b) Plaids? 

9. Briefly describe how a lining for a maternity dress 
should be made and finished? 

10. A maternity skirt? 
Page Twenty-Four 



THE 

AMERICAN SYSTEM 

OF DRESSMAKING 



A Course of 

Instruction by Mail 

in the 

Science and Art 

of 

Successful 

Dressmaking 

And Ladies' Tailoring 



Lesson No. 15 



The American College of Dressmaking 

(Associated Training Schools, Proprietors.) 

KANSAS CITY, MO., U. S. A. 



Copyrighted 1906, 1907, 1908 and 1909 
by J. M. Stelle 

Copyrighted 1910 and 1911 
b^ Associated Training Schools 



Jill rights reserved. 



Printed in the United States. 



Cl)e 



ameritan s>?0tem 

TAUGHT ONLY BY THE 

aimertcan College of Btessmafetng 
iSlansias €itv. Mo. 

Miss Pearl Merwin, Supervisor. 

Lesson No. 15 

INFANT'S FIRST OUTFIT. 

There is not so much opportunity for changes in the 
cutting and making of infants' garments, still from time 
to time there are improvements tried, w^ith a view to mak- 
ing the process of dressing an infant a less wearisome 
operation and to give greater comfort to the child. The 
beauty of these little garments is the extreme neatness with 
which they are made. 

A great many prospective mothers begin by spending 
a great deal of time on fancy dresses and petticoats and find 
at the last they have very little time or money left for the 
other things. This is not a good plan as the flannel shirts, 
petticoats and simple garments are far more essential and 
necessary to a baby's health and happiness than the more 
elaborate needle-work dresses. A baby does not need a 
great many clothes, but the layette should be large enough 
to keep it fresh and dainty. Rather than have so many 
poorly made and cheap materials, get fewer and of a good 
quality, especially the flannels. 

A baby will need six day slips or dresses, four night 
slips or gowns, six flannel bands, six flannel shirts, four 
pinning blankets, two flannel skirts, four white skirts, two 
wrappers or kimonos, one coat and cap, two sacks, two pairs 
of bootees, three dozen diapers, bibs, pillows, a couple of 

Page Three 



little comforts and afghans. Stockings will be needed after 
a few months. The dresses, gowns, shirts and bands should 
be changed every day. 

DRAFTING A FRONT OF AN INFANT'S SLIP. 

To draft a front of an infant's slip, draw a straight line 
thirty-six inches long, lengthwise on a piece of paper, and 
mark it Line 1. Placing corner of square on top end of 
Line 1, draw Line 2 at a right angle to Line 1, making it 
four and one-half inches long. Make dots A and B each 
one and one-half inches from 
junction of Lines 1 and 2. 
(See Fig. 268.) Make C four 
inches from top of Line 1 and 
place D at left end of Line 2. 
Measure down three quarters 
of an inch from D and make 
E. Draw Line 3 from A to E, 
which is the shoulder line. 
Squaring on Line 1 at C draw 
Line 4, making it five and one- 
half inches long and place F 
at its left extremity. Make G 
four and one-fourth inches 
from C on Line 4. Squaring 
on Line 4 at G draw Line 5 
making it about two and one- 
half inches long then draw the 
armhole curve from E to 
touch Line 5 and on down to 
a point one-half inch to the 
right of F, using the armhole 
curve on square ; also draw the -^ ^ Fig. 268. 
neck curve from A to B by using neck curve on square. 

Place H at bottom of Line 1 then squaring on Line 1 
at H draw Line 6 to the left making it fifteen inches in 
length and place I at its extremity. Draw Line 7 from F 
to I. Now measure the distance from C to H. In this 
draft it measures thirty-two inches; measure the same 
length plus one-half inch from F on Line 7 and place J at 
the thirty-two and one-half inch mark. Then draw Line 8 
from J to about the midway point of Line 6 by placing C 

Page Four 




Curve on J and letting edge of square touch the midway 
point of Line 6. 

DRAFTING THE BACK OF SLIP. 

To draft the back draw a straight line thirty-six inches 
long lengthwise of the paper, and mark it Line 9. Squar- 
ing on the top end of Line 1 draw Line 10 making it four 
and one-half inches long and place K at its left extremity. 
Make L on I<,ine 10 one and one-half inches from junction 
of Lines 9 and 10. Make M one-fourth inch and N three 
inches from top of Line 9. 
Measure down one-half inch 
from K and make O then 
draw Line 11 from L to O. 
Squaring on Line 9 at N, draw 
Line 12 five and one-half 
inches long and place P at its 
left extremity. Draw the 
armhole curve from O to P 
and neck curve from L to M, 
using respectively the arm- 
hole and neck curves on 
square. (See Fig. 269.) 

Place Q at lower end of 
Line 9 then squaring on Line 
9 at Q draw Line 13 fourteen 
inches long and place R at its 
left extremity. Draw Line 14 
from P to R. This line must 
be the same length as Line 7, 
as the two are seamed to- 
gether so measure from P 
thirty-two and one-half inches 
and make S then draw Line 15 *'*^- ^*®- 

from S to Line 13 by placing C Curve on S and letting edge 
of square touch Line 13 about the midway point. 

DRAFTING THE SLEEVE OF SLIP. 
To draft a sleeve fold a piece of paper through the 
center and draw Line 1 along the fold eight and one-half 
inches long. Squaring on its top end draw Line 2 five inches 
long. Measure down from top of Line 1 two inches and 
make A. Squaring on Line 1 at A, draw Line 3 to the left 

Page Five 




making it also five inches in length and place B at its left 

extremity. Place C at lower end of Line 1 and squaring 

on Line 1 at C, draw Line 4 to the left, making it four and 

three-fourths inches long and place D at its left extremity. 

Draw Line 5 from B to D. Measure up one-half inch 

from D and make E, then draw Line 6 from E to a point 

about one and one-half inches from 

C by placing C Curve on E and letting 

edge of square touch Line 4 one and 

one-half inches from C. (See Fig. 

270.) Draw Line 7 from B to right 

end of Line 2 by placing in sleeve 

curve on reverse of square on B on 

draft and letting edge of curve touch 

Line 2 about its midway point. 

Draw Line 8 from B to right end 
of Line 2 similar to the way it is 
drawn in the shirtwaist sleeve in Les- 
son 3, letting it extend to right end 

Cut along Lines 7, 5 and 6 




270. 



Fig. 

of Line 2. 
Trace Line 8, then open 
up sleeve and cut along the traced Line 8 for under part of 
sleeve. 

To cut the slips, pin the front draft with Line 1 on a 
fold of the material and markstitch all the edges and then 
cut, allowing for seams. Pin the back draft on the selvage, 
allowing for hems and markstitch the edges, then cut, allow- 
ing for seams. A three inch hem is allowed on the bottom 
of the drafts. Pin the sleeve with Line 1 on the 
straight of the material and markstitch around all the edges 

and cut allowing one-quarter of 
an inch for seams along Lines 7, 
8 and 6 and three-quarters of an 
inch on Line 5. The top and 
lower edges are gathered and 
the lower edge is finished with a 
narrow cuff, one edge of which 
is sewed to sleeve and the sleeve 
French seamed up and then the 
free edge of cuff turnd under 
and overhanded over the seam 
previously made; or the lower 




Pier. 271. 



Page Six 




edge of sleeve may be hemmed with a very narrow hem and 
then gathered one-half inch above the hem over which a 
pretty little seam covering is stitched or beading and rib- 
bon are used. 

To cut a slip with fullness at the neck (Fig. 271), pin 

the front draft with Line 1 about one and one-half inches 

from the fold of the material and the back draft one and 

one-half inches from 

the selvages, allowing 

for hems first. When 

cutting, extend the 

neck curves to the fold. 

This fullness is then 

gathered and put into 

a neck band, or bead- 
ing and ribbon may be 

used and the fullness 

drawn up each time it 

is worn to fit the neck. 

If a slip with a yoke Fig. 272. 

is desired, cut the tops of the drafts off one-half inch above 

Lines 4 and 12, then 
cut the skirt por- 
tions the same 
width at top as at 
the bottom and 
shape the part that 
will extend under 
the arm, by that 
part of lower draft 
that was cut off 
from the yoke. (See 
Fig. 272.) An in- 
verted plait under 
the arms is often 
used which gives a 
baby more freedom 

than if made plain. The dotted lines in Figs. 272 show how 

to draw the lines that will form the fold of the inverted plait. 

Fold on the dotted line in left illustration in Fig. 272 and 

then bring the material back to the point marked A, sloping 

Page Seven 




Fig. 273. 



off gradually from B to the bottom, then shape this also at 
the top by the curve at A. Likewise fold on dotted line in 
right illustration of Fig. 272, sloping off from D to bottom 
and shape this also by the curve at C. Seams must be 
allowed for on the line below B and D when cut- 
ting out the material. The dots in right illustration in 
Fig. 272, indicate length of placket. Usually two widths 
of material are sufficient 
for a dress or slip, the 
seams coming at the un- 
der-arms. 

Use the same drafts 
as Fig. 268 and 269 for 
cutting the night gowns, 
only cut them a little 
larger and longer so that 
the bottom can be tied in 
like a bag, if preferred. 
A gown of this kind is 
especially good for a 
restless baby that likes to 
kick the cover off. (See 
Fig. 273.) The night 
gowns can be made of 
cambric, wool, flannel or 
wool-and-cotton flannel. 
For day-slips use fine cambric, nainsook, silk finished batiste, 
striped or cross-bar dimity or the fine cross-bar batiste. 
If any lace is used on the collar or sleeves, use the fine, nar- 
row French Valenciennes. 

The main difference between a slip and a dress is that 
the dress is made of finer materials and more trimming is 
used. The little yokes are often made of tucks and inser- 
tion, and the lower part of skirt is frequently trimmed to 
match the yoke ; some are made with a panel front embroid- 
ered by hand and set into the dress with narrow lace in- 
sertion. (See Fig. 274.) They are often hand made en- 
tirely, but as stated in the beginning, do not spend too 
much time on these fancy dresses, for baby does not ap- 
preciate them. The dresses can be made of very fine nain- 
sook, handkerchief linen and silk-finished batiste. 

Page Eight 




Pig. 274. 




Fig. 275. 




Fig. 276. 



A little baby always wears a flannel or knitted band 
about six inches in width. If made of flannel, get the fine 
white flannel that costs about fifty cents a yard. Two- 
thirds of a yard will make four bands. Turn un- 
der the edges of the bands in narrow hems and 
finish them with feather-stitching. (See Fig. 
275.) Or, the edges can simply be pinked instead 
of hemming them. Another flannel band that is frequent- 
ly used is made of a six-inch strip of flannel torn across the 
goods. Its edges are not hemmed or finished in any way, 
for the advantage of a band of this kind is 
the give of the raw edges. 

The shirts should be either the all-wool, 
or the silk-and-wool woven shirts, or shirts 
of all-wool flannel. The woven shirts will 
have to be purchased ready-made while if 
the all-wool ones are made by hand you can 
make them for about the same price as one 
woven ready-made. They are very easy to 
make and require very little time. They are 
cut by the slip drafts, cutting the length de- 
sired. If preferred the little sleeves can be 
cut with the body-in-one (See Fig. 276) by 
using the kimono draft. They can be ma- 
chine-stitched as they will get hard wear and 
are often in the laundry. 

The pinning-blanket or Barrie-coat is 
really little more than a covering for the 
baby's feet and diapers. (See lower illus- 
tration in Fig. 277.) It keeps the feet warm' 
and protects the skirts and dresses. It is 
not necessary to make them of all wool but 
a wool-and-cotton flannel that costs about 
twenty-five cents a yard will do just as well. 
"A blanket is usually made of two widths of 
material that are left open down the front 
and gathered to a muslin band or body. The 
hems are turned under down the fronts and 
around the bottom and feather-stitched. 
(See upper illustration in Fig. 277.) They ^^ ^^^ 

Page Nine 





are quite easy to launder, for they can be opened out per- 
fectly flat in ironing. Some are made plain while others 
are gathered on to the waist portion. 

To cut the Gertrude body or waist portion of the pin- 
ning blanket, pin the front and back drafts of the slips on 
a piece of paper so that the bust lines will be one continu- 
ous straight line as shown in Fig. 278. Measure down from 
M one and three-fourths inche's and make T; also six and 
one-fourth inches and make U. From O measure to the 
right 11/2 inches and make V. From T draw a straight line 
to the left two and three-fourths inches long and mark it 
Line 16, and connect its left end with V which will form 
the neck line of the back. From E measure to the left one 
and one-half inches on shoulder line and make W; from B 
measure down one and three-fourths inches and make X, 
also seven inches and make Y. Draw Line 17 from U to Y. 
Placing square so that its long edge will touch W and Y, 
draw Line 18 from W about two and one-half or three 
inches long. Find midway point between X and Y and 
place Z at this point. From Z measure straight out to the 
left ten inches and make aa then draw Line 19 from Y to 
aa, also Line 20 from 

aa to X, letting it ex- / — t^^- ,^_j^..->..^ 

tend on to Line 18 
which will determine io.--^ 

the length of that line. ^^^.^-^-^''''^ 
(See Fig. 278.) Trace """^^^^-^^j^ 
all these new lines just ^-'-- 

drawn, also the arm- 
h 1 e curves and *'**^' ^'^^' 

shoulder lines from armhole to W and V and remove draft, 
and cut out. When laying the pattern on the material, 
lay the line from T to U on a fold. Make a two-inch slash 
under one of the armholes and bind the edges of the slash. 
Tack tapes to the pointed ends of the Gertrude body, and 
in closing pass one end through the opening or slash and 
tie pinning-blanket at back. Face all the other edges and 
then feather-stitch them as shown in Fig. 277. 

To cut a band or waist for a petticoat cut off the tops 
of the front and back drafts about three inches below the 
armholes. Hollow out the neck and armholes a little more 

Page Ten 





Fig. 279. 



than for a slip. For the skirt portion use two widths of 
material thirty-six inches in width. 

White petticoats are made of soft finished muslin, cam- 
bric or nainsook. Frequently the same quality nainsook 
is used for the petticoat as for the slip or dress. They can 
be tucked at the bot- 
tom in groups of nar- 
row tucks with inser- 
tion between the 
groups, and the bot- 
tom edge finished with 
a rufile of embroidery 
or a ruffle of the ma- 
terial edged with fine 
V a 1 e n c i ennes lace. 
(See Fig. 279.) Do 
not use anything that 
is coarse or too heavy 
on them. Flannel petti- 
coats are made in the 
same way, the bands 
being made of muslin. The trimming of flannel petticoats 
consists of embroidery or fancy stitches. Open the seams 
and cat-stitch them as illustrated in Fig. 8, Lesson 1. Never 
leave a raw seam in any of baby's clothes. Use the French 
seam in everything but the flannels. When joining the 
skirt portion to the yoke, always face it. 

To cut a kimono or wrapper pattern lay the front and 
back draft as represented in Fig. 101 and cut to follow the 
neck curves, front and center back lines, under-arm and 
bottom lines. The sleeves may be cut short 
as shown in Fig. 105 and shaped to suit one's 
fancy. When cutting from the material lay 
the center front line on the selvage which 
will make the back come on the bias. After 
cutting join the centerback seams, also the 
under-arm and sleeve seam which will be one 
continuous seam. The neck curve and both 
fronts and lower edge of sleeves should be 
faced on the right side with a narrow band of 
contrasting material. (See Fig. 280.) Hem mg. aso. 

Pa^ El«ven 





Pig. 281. 



the bottom. These little kimonos are made either lined 
or unlined of French flannel, wool batiste, albatross or 
China silk. The soft silks are the best materials for the 
linings. The little body-and-sleeve-in-one kimono or wrap- 
per with all its edges scalloped and trimmed with a pretty- 
embroidered design is the daintiest little ki- 
mono that can be made for a baby. (See 
Fig. 281.) 

The little one-piece sack, as shown in 
Fig. 282, is cut by the same draft as the ki- 
mono only made shorter. Its edges are also 
very pretty scalloped and embroidered but 
they may be hemmed then featherstitched 
all around as shown in lower illustration in 
Fig. 282. These sacks can be made of the 
same material as the kimonos, and lined in 
the same way. White is the most preferable 
color. Make the slashes for the arms as 
shown in the illustration. The short 
sleeves are tied together with baby rib- 
bon. 

An infant's coat should always be 
white and the materials suitable for it 
are silk or wool cashmere, henrietta, 
Bedford cord, crepe de Chine, broad- 
cloth, heavy linens, and piques. Some 
of the prettiest coats are made with 
capes with scalloped edges and hand 
embroidery. (See Fig. 283.) The 
edges of the cape can be finished with 
lace, if preferred, but the lace should 
be of a good quality if used at all. The 
heavier coats should be lined with soft 
silk, satin, or even a good quality of 
sateen. If they are for winter, use a 
wool or a silk-and-wool interlining down to below the feet. 
Use the slip drafts, making Lines 4 and 12 each one inch 
longer, also the shoulder lines each an inch longer. Cut 
to open in front by placing Line 1 on the selvage, allowing 
for hems, and Line 9 on a fold of the material. 

To cut a cape lay the drafts as in Fig. 101. Then 

Page Twelve 




Flsr. 282. 



mark on Lines 1 and 9 the desired width or length of cape 
then draw a curved line connecting these points. 

The cap may be purchased ready-made or it can be 
made of the same material as the coat, and trimmed like 
it with scalloping, hand-embroidery, etc., or in can be made 
of the sheerer lingerie materials, all-over embroidery, em- 
broidered handkerchief linen, lace, etc., and use a silk 
lining inside it. The cap strings can be made of fine linen, 
hemstitched, or they 
can be made of white 
satin ribbon and fas- 
tened to the cap with 
rosettes on each side. 

For every-day use a 
baby's bib should be 
made of strong 
durable materials 
such as linen, pique, 
etc., that will stand 
frequent laundering. 
There are a number of 
different styles and 
shapes and they are 
generally made with scalloped edges and trimmed with 
hand-embroidery. The best bibs can be made of fine hand- 
kerchief linen, batiste, etc., and trimmed as much as one 
prefers. One of the newest bibs is made with a sort of belt 
or girdle that fastens around the waist and hold the bib 
down neatly in place. When using the sheer materials bibs, 
use them over a small pad. 

The little comforts can be made of two thicknesses of 
fine white cheesecloth with a layer of cotton wadding be- 
tween them. The edges of the comfort are buttonholed to- 
gether with white or a dainty colored floss, and the com- 
fort itself is tacked at intervals with baby ribbon and tied 
in a bow-knot. The knitted afghans are made of white, 
pink or blue wool and are usually eighteen inches wide and 
thirty inches long. If desired, a blanket may be made of 
double-faced eiderdown with its edges bound with six- 
inch satin ribbon. It should be about a yard and a quar- 
ter long, and can be made of white eiderdown bound with 

Page Thirteen 




Fig. 283. 



pink or blue, or of the pink or blue eiderdown bound with 
self-colored ribbon. This will be quite an expensive arti- 
cle, however, and may be dispensed with entirely. 

There are a number of different materials that are used 
for the diapers. Bird's-eye linen is excellent and so is the 
cotton diaper cloth. Some use Canton flannel or outing flan- 
nel and find them quite satisfactory. Cut each diaper twice 
the length of the width and finish both ends with very 
narrow hems. Wash them with a good pure soap, but never 
use washing powders or bluing. It is a good idea to use an 
outer-diaper of rubber sheeting over the regular diapers. 

For baby's pillow-slip use linen and trim with hand- 
embroidery, ruffles, etc. Handkerchief linen can be used 
also. Do not embroider the pillow in the center where it 
will touch the head or face. 

The bootees should be made of silk or worsted in white 
or baby colors. The knitted and crocheted bootees are good 
for winter wear. As soon as the baby has donned short 
dresses then use the little embroidered bootees, made of 
fleece-lined pique, or of nainsook over a lining of colored 
silk. They are very easy to make and excellent stamping 
patterns that give the shape and material for trimming 
can be purchased at a nominal cost. 

LITTLE GIRLS' CLOTHING. 
Take the measurements for children quite a little looser 
than for adults, especially the bust and waist measures. No 
dart length is necessary. Draft the pattern the same as 
given in Lesson 2, omitting the darts and side forms. The 
bust and waist measures are so near the same in children 
that the difference is taken out in the under-arm seams. 
Frequently the waist is larger than the bust measure, in 
which case, add one-fourth of the excess to the front and 
one-fourth to the back at waistline on the under-arm lines, 
then when cutting the material the other two-fourths or 
one-half will be added to the other front and back. 

Sometimes a small dart is used for children over eleven 
years of age in the front lining. It is placed midway be- 
Page Fourteen 



tween the center front and under-arm- lines and the top 
should extend almost to bust line. The sleeve measures 
are taken and sleeve drafted the same as for adults with the 
exception of the inside curve or Line 7. K should be placed 
only one inch from D instead of one and one-half as for 
adults. Test all measures before cutting the drafts apart. 

The materials which are used so much for children's 
wear, such as linen, duck, madras, gingham, chambray, 
pique, repp and cheviot, should be shrunken before being 
made. If not shrunken, an allowance will have to be made 
on all the pieces ; and this does not always give satisfactory 
results. One inch to the yard is the estimate shrinkage for 
these goods. The following method may be used which does 
not require pressing: Roll the folded goods smoothly in a 
cloth and cover with water and leave it over night. Remove 
in the morning and hang up to dry without wringing. It 
will take it some time to dry out thoroughly, but it will not 
need pressing until after the garment is made, then it is 
dampened and pressed. It is a good idea to put a tuck 
under the hem, or the bottom of the skirt may be orna- 
mented with several tucks, then as the dress shortens a tuck 
may be taken out. 

No better selection can be made for a little tot than 
the Bishop style, since the long unbroken lines give appar- 
ent height to the child and is much more becoming than 
those which are belted or seamed on at the waist. The 
little plain mother-hubbards make good every day dresses, 
as they are easier laundered. For girls from four to six 
years of age the French dress is very suitable. The skirt 
is seamed on to the waist, with the waist blousing over the 
skirt a little below waistline. The skirt and waist both 
may be cut with either plaited or gathered fullness. The 
Buster Brown dress may be and is worn by children of all 
ages. The suspender dress or bretelle skirt is a very use- 
ful garment, as it can be worn with separate waists, and 
it is a very convenient way to remodel old dresses. 

Page Fifteen 



All the varieties of dresses for children can be made 
by using as a basis the drafts which have already been 
given. While there are many and great variations from 
this original draft, still with the knowledge and experience 
you have acquired thus far you will have little difficulty in 
adapting it to all changes, if you but exercise a little origin- 
ality mixed with a moderate degree of ingenuity and com- 
mon sense. 

Do all tucking or plaiting before cutting out. There 
are many different varieties of aprons, which may be made 
of white linen lawn, crossbar nainsook, plain and checked 
ginghams, etc. All of these can be made from this same 
draft. The yoke aprons may be cut by using the tops of 
the front and back drafts to within an inch below the arm- 
hole. The skirt portion is cut plain and gathered on to 
the yoke. For a short yoke cut across a little above the 
armhole, then after the skirt portion is sewed to the yoke, 
hollow it out some under the arms to form the curve of 
the armhole. The suspender style is very pretty and dainty, 
especially when the straps or suspenders are made of in- 
sertion. This may be varied by putting shoulder ruffles 
on the straps. 

MAKING A LITTLE GIRLS' KIMONO. 
Draft a pattern the same as 
shown in Lesson 5, Fig. 104, 
using, of course, a child's meas- 
ures. The under-arm lines will 
be straight instead of curved. 
Trace, cut and lay them together ^*^- ^^• 

shoulder to shoulder as shown in Fig. 285 on the material. 
If center back line is laid on a fold of the material it will 
give the kimono all in one piece, but will probably necessi- 
tate piecings on the lower edges of the front. It is advis- 
able, therefore, to lay the center front on the selvage, allow- 
ing three-eighths of an inch for a seam, or enough for hems. 

Page Sixteen 






FIgr. 285. 



Fig:. 286. 

Page Seventeen 




Fig. 287. 



This will make the back come on the bias. Cut, allowing 
for seams, then join them. The under-arm and sleeve seam 
is finished in one continuous seam. The neck and fronts 
and lower edge of sleeves should be finished with a band of 
contrasting material. (See Fig. 284.) Hem the bottom. 

To make a one-piece apron 
or dress (Fig. 287) lay the front 
and back drafts so that the cen- 
ter front and center back lines 
will be on the same straight line. 
(See Fig. 286.) Outline all the 
edges and when cutting lay the 
center front and back lines on 
a fold of the material having 
previously laid the tucks. By do- 
ing this the sleeve portions are 
thrown so far apart that it will make the length across the 
shoulder too great; therefore, raise the under-arm line two 
inches or more and cut sleeve portion as shown by the dotted 
lines in Fig. 286. There is only one seam on each side — 
the under-arm seam — which is to be joined. This little dress 
slips on right over the head without any fastening, the neck 
outline being cut along the dotted lines, but if preferred, 
an opening may be made at the back and fastened 
with buttons and buttonholes. If it seems large over 
the shoulders lay a small box plait on top of shoulder be- 
ginning at nothing near neck line and gradually increasing 
in width to arm until sufficient has been taken up. Finish 
the neck and sleeve edges with a narrow frill of lace. Sew 
beading at the inside edges of the frills and insert ribbon 
in beading. Draw the ribbons up closely to fit the neck and 
arms, and tie in pretty bow. 

ROMPERS. 
Lay the front and back drafts together, as in Fig. 286, 
placing the center front and center back lines on a fold of 
the material, and cut all in one piece, the sleeves being cut 
on the dotted lines. Cut along the neck curve also. Remove 
the draft, open up the material and fold so .that the lower 
edge of the front and back will come together. At the cen- 
ter of the back and front section cut small darts which will 
form the inside seams of the leg portion. (See Fig. 288.) 

Page Eighteen 



FIG. 288 

Page Nineteen 




Fig. 289. 



Join these seams also the under-arm and sleeve seams. The 
lower edge of each leg portion is hem- 
med, into which a rubber is run and 
drawn up to fit the knee. The sleeve 
may be left loose or gathered into a 
wristband. The neck may be finished 
with a band or cut a little low and faced. 
The rompers are made to open down the 
center back. These edges are faced and 
fastened with buttons and buttonholes. 
If preferred, a belt may be worn as 
shown in Fig. 289. 

A RUSSIAN DRESS. 

This is a practical little dress and 
quite easy to make. As a rule, dresses 
made in one piece (the waist and skirt 
portions cut in one) are apt to be scant 
at the bottom. This difl^iculty is obvi- 
ated here by inserting inverted plaits at 
each side in the under-arm seam and 
center back. The material for the plaits is added from the 
waistline to the hem, and is arranged to give a flare to the 
skirt portion. Use the plain front and back drafts and since 
the Russian Dress fastens on the left front, cut the right 

front so that it will be wide 
enough to come about half 
way over the left front, and 
allow for a hem. (See Fig. 
290.) Allow from one and 
one-half to three inches for a 
hem at the bottom, also for 
the inverted plaits. Join the 
center back and under-arm 
seams. Form the inverted 
p*e. 290. plaits at the sides and back 

and baste them into position and then press flat. If the 
dress is made of heavy material, these plaits are apt to sag 
unless secured at the top. Bind the upper edges of the plaits 
and then stitch them across the top. Have the stitching 
come through the dress, and this will hold the plaits firmly 
in position. The belt will hide the stitching. Turn the hem 

Page Twenty 




on the right front and face the edge of the left front. The 
neck may be left high or cut a little low. If the former, fin- 
ish with a narrow band. If the latter, a facing will have to 
be used. Next, turn the hem at the bottom. It is a good 
idea to first pin it near the bottom, and then baste around 
the lower edge of the skirt about one-half or one inch up. 
At intervals of eight or ten inches it may be necessary to 
lay a tiny plait at the top of the hem. 
These little plaits must be pressed flat. 
After basting, stitch the hem with one 
or more rows. 

If the right side of the dress is to 
be finished with a trimming band, it 
should be applied before buttonholes are 
worked near the edge. The band should 
be bias. Sew buttons at the edge of the 
left front and button the dress at the 
side. To keep the belt in position, sew 
narrow straps at the under-arm seams, 
through which the belt may be passed. 
Lap the ends of the belt in front and 
fasten with a button and buttonhole. 

Use the Bishop sleeve and gather 
it at the upper and lower edges. Fin- 
ish the lower edge with a wristband. 
Pin the sleeve in the armhole, placing 
the seam about one and one-half inches 
from the under-arm seam. Always hold 
the sleeve toward you when arranging ^is. 291. 

it in the armhole. Pin the plain part of sleeve smoothly 
into the armhole. Draw the gathers up to fit the remain- 
ing space, distributing them evenly and pin carefully before 
basting sleeve in position. When stitching, stitch in a bias 
strip with which to bind the armhole. 

A little Russian coat (Fig. 291) is made in the same 
manner with the exception that the coat sleeve is used and 
a lining and interlining. It can be made from a variety 
of materials, chosen according to the use for which it is 
designed. For school wear, serge, cheviot, and mixed cloth 
will give satisfactory results, do excellent service and make 
an extremely stylish and attractive appearance. The trim- 
Page Twenty-One 




ming bands may be of velvet, broadcloth, or, if desired, of 
several rows of pretty braid. For a more dressy coat, broad- 
cloth is the most desirable, and the lining should be of silk, 
but if the matter of economy must be taken into considera- 
tion, then a soft light weight sateen will do. For the inter- 
lining use wool wadding as it is less bulky and at the 
same time is very warm. Cut the material for the coat 
and the lining exactly alike. Join 
the seams of the coat and press 
them open. Apply narrow bands of 
light weight canvas down the fronts, 
around armholes and neck, the same 
as given for adults. Next apply the, 
interlining by same instructions, then 
lining and finishing, etc. 

If a plain loose coat is wanted 
draft it the same as instructions 
given for adults making it any length 
desired. It may have either the 
notched or shawl collar and may be 
lined or unlined. The pattern is 
laid on the material, all edges marked 
with tailors' chalk and then mark- 
stitched in the same manner as pre- 




viously given. 




Flsr. 293.. 

Page Twenty-Two 



Fig. 292 shows 
shawl collar 
stitched on and 
the canvas 
over it and 
down the 
fronts. The 
collar is made 
and stitched 
and applied 
exactly the 
same as for 
adults. Fig. 
293 shows the 
facing over the 
front and col- 
lar. Sateen is 
used across the 



Fig. 29S 




Fig. 294. 




chest instead of canvas. Fig. 294 shows the back facing of 
sateen, also the facing of the bottom of coat, and the finish 
of the sleeve at the bottom. The same process of shrinking, 
pressing, etc., is as necessary in children's coats as in the 
grown-ups. 

Another very popular little dress is the plaited skirt 
joined to the waist by means of a belt. For this example 
the surplice effect is used in the waist. 
(See Fig. 295.) A shield with collar 
attached is worn with it. The surplice 
effect is obtained by using the plain 
front and back drafts, and turn back 
the front from shoulder at neck down 
to a point two inches beyond center 
front at waistline. The skirt consists 
of several plain widths joined together, 
hemmed and then plaited. After cut- 
ting, join shoulder and under-arm 
seams. Gather the lower edge of the 
waist in front and back and baste it to 
the top of the belt. Both sides of the 
front of the blouse are alike, in that they 
lap in front, and the belt laps also. After fitting, stitch 
the shoulder and under-arm seams and press open and 
finish each edge. The neck and front edges of the material 
should be underfaced. Lay underfacing right side against 
the edge to the waist, baste and stitch. Then fold it over 
to the wrong side, turn under its free edge and fell it down. 

After basting the plaits in the skirt into position, press 
them well. Cut a placket opening in the underfolds of the 
first plait in the left side and bind the edges of this open- 
ing. For wash dresses it is a good idea to cut this opening 
right down to the hem, and tack it temporarily together, or 
button it invisibly by means of a fly. In basting the skirt 
to the bottom edge of the belt first pin the corresponding 
center backs and front edges together. If it is necessary 
to alter the waist size of the skirt, alter the underfolds of 
the plaits, keeping the outerfolds unchanged. If the skirt 
does not hang evenly when tried on, raise it where neces- 
sary under the belt. Do not alter the width of the belt. 
Press the belt when it is stitched, pressing both cut edges 

Page Twenty-Three 



Flsr. 295. 



toward the middle of the belt. Fell a belt lining over this 
to cover up the seams. A large button or hooks and eyes 
fasten the dress at the waistline. Use the Bishop sleeve and 
adj ust to armhole in the regular manner. 

The shield is cut by laying front draft with its front 
edge on a fold of the material. It is cut any shape desired. 
It may be attached to a lining like a guimpe, if preferred. 
If not, hem its outer edges and baste a collar band to the 
neck curve. Try it on and when satisfactorily adjusted, 
stitch. A lining should be cut for the collar. Baste this 
against the right side of the collar and stitch the top and 
back edges of it. Turn the lining over on the wrong side 
and fell its neck edge over the neck seam. Add a stitching 
on the right side at the top and at the bottom of the collar. 

The back edges of the shield and collar should be made 
to lap and button. A buttonhole at "the back of the waist 
at the neck buttons 
on to the shield and 
keeps it in position. 
The waist may be 
further buttoned on 
to the shield on 
either side in front, 
if desired. 

Another favorite 
dress is the one 
made with a yoke. 
The skirt is joined 
to the waist with a 
belt in this case 
also. The yoke 
may be made round- 
ing, V-shaped or 
square. (See Fig. 296.) The yoke may be made of the 
same material or of all-over embroidery or lace. For school 
wear, a dress made of pretty gingham and the yoke of all- 
over embroidery is very serviceable as well as economical. 
Cut the yoke by the top part of the plain front and back 
drafts. Tuck a width of the material with as many tucks 

Page Twenty-Four 




Fig. 29«. 




as desired, making them the width and 
length wanted, either solid or in clusters. 
Fold through the center and lay the front 
draft with its front edge on the fold and 
shape the under-arm seam, also the arm- 
hole curve and the top where it joins the 
yoke. Remember this waist does not 
extend up to the shoulders and neck lines, 
but to bottom of yoke. The back is tucked and cut in the 
same manner, with the exception that the dress opens in 
the back and the edges should be hemmed before tucking. 
Baste and stitch these body portions to 
the yokes with the seam edge on the 
right side, as they appear in Fig. 297. 
This makes a neat finish when 
there is a banding or embroidery to be 
applied over the seam. (The banding of 
course is not applied until after the 
sleeves are sewed in.) (See Fig. 297.) 
Join shoulder and under-arm seams. 
Gather the bottom of the waist and 
baste to top of belt. Try it on and 
make any necessary changes in the 
seams and belt size. Join the skirt 
widths together gathering or plaiting 
the upper edge and attach to lower 
edge of belt. The simplest kind of 
placket is the best to use for this wash 
frock — a straight length of the ging- 
ham, about one and one-half inches wide, and long enough 
to bind both edges of the placket. Stitch this continuously 
along the edges of the placket. Fold the strip down its 
length, turn under its free edge and fell it down over the 
seam. (See Fig. 146.) Use the Bishop sleeve, and finish 
the neck with a collar band. 

A pretty little model as well as a serviceable one is 
illustrated in Fig. 298. The tucks are so arranged as to 
give a box-plait panel or princess appearance down the 

Page Twenty-Five 




Fig. 298. 



front and back. The two fronts are joined by a straight 
strip of the material, whose edges are turned under and 
stitched in such a man- 
ner as to form the tucks. 
The stitching extends to 
waistline only, but the 
plait extends down the 
entire length of the 
dress. The backs are ar- 
ranged in the same man- 
ner, except each back is 
finished separately. A 
hem allowance must be 
made on each piece. Two widths of the material form the 
skirt portion. These pieces are joined to the under edges 
of the tucks. (See Fig. 299.) After joining the shoulders 
and under-arm seams, gather the top edge of the skirt por- 
tion and baste to lower edge of the waist. Or, a belt may 
be used in this also and both waist and skirt joined to the 
belt. Any mode of trimming may be used. The neck is 
either finished with a band or Buster Brown collar. 




Flgr. 209. 



Page Twenty-Six 



QUESTIONS. 

1. (a) How is the front of an infant's slip drafted? 
(b) The back? (c) The sleeve? 

2. How are the slips cut and made? 

3. (a) How is a slip with fullness at the neck cut? 
(b) How is a slip with a yoke cut? 

4. (a) How are the bands made? (b) How is the 
Gertrude body or waist portion of the pinning blanket cut? 

5. (a) How is a kimono cut and finished? (b) What 
materials are suitable for the coat? 



6. (a) In what respect does children's drafting differ 
from adults? (b) Where is the dart placed? 



7. (a) How is the one-piece apron or dress cut and 
made? (b) Rompers? 



8. (a) Describe briefly how the Russian dress is made 
and finished, (b) The Russian coat? 



9. (a) Describe briefly how the surplice dress with 
plaited skirt is made, (b) How is the shield cut and at- 
tached ? 



10. How is a dress with a yoke and belt made? 

Page Twenty- Seven 




THE GEM SKIRT GAUGE 



This is without doubt the simplest and best skirt 
gauge of its kind for professional dressmakers and the 
home seamstress. It is at once practical, dependable and 
durable, and should last a life time. It can be used on 
any skirt and is simplicity itself. It is easily adjusted and 
being made of malleable steel is therefore practically in- 
destructible. Markings may be made with a pin, tailor's 
crayon or ordinary school chalk. 

This handsome skirt gauge, just double the size of the 
illustration, will be sent postpaid for ;?i.oo. 

ASSOCIATED TRAINING SCHOOLS 

KANSAS CITY. MO. 



THE 

AMERICAN SYSTEM 

OF DRESSMAKING 



A Course of 

Instruction by Mail 

in the 

Science and Art 

of 

Successful 

Dressmaking 

And Ladies' Tailoring 



Lesson No. 16 



The American College of Dressmaking 

(Associated Training Schools, Proprietors. ) 

KANSAS CITY, MO., U. S. A. 



Copyrighted 1906, 1907, 1908 and 1909 
by J. M. Stelle 

Copyrighted 1910 and 191 1 
h^ Associated Training Schools 



Jill rights reserved. 



T^rinted in the United States. 



%})t 



American S)j>0tem 
of Bre00mafein!i 

TAUGHT ONLY BY THE 

9[mcrican College of Bressmaikittg 
Kansas Cttp, Mo. 

Miss Pearl Merwin, Supei-visor. 

Lesson No. 16 

DRAFTING A MAN'S SHIRT. 

Six measures are necessary for drafting a man's shirt, 
namely, neck, breast, depth of back, shoulder, inside arm 
length and hand. The measures are taken the same as 
instructions given in Lesson 2. The breast measure corre- 
sponds to the bust measure and is taken in a similar man- 
ner. The shoulder measure is taken from the base of the 
neck at the side to the point of shoulder, or rather well 
over the shoulder bend, as a man's shirt is long over the 
shoulder. The entire length of a shirt is usually about 
thirty-two inches from the shoulder in front to the bottom, 
although it may be made shorter or longer when necessary. 

To draft a front, lay the square, face up, with its long 
arm along the edge of paper next to you and its short arm 
at the right, and draw Line 1 thirty-two inches in length. 
Draw Line 2 along the short arm about ten or twelve 
inches long. (See Fig. 308.) Make A on Line 2 one-sixth 
of the neck measure on the scale of sixths from the junc- 
tion of Lines 1 and 2 ; also make B on Line 1 one-eighth the 
neck measure on the scale of eighths from the junction of 
Lines 1 and 2. C is the depth of back measure on Line 1 
minus one-eighth of the neck measure from B. From A 

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measure to the left the length of shoulder and make D ; also 
make E two inches below D and draw Line 3 to E. This 
line represents the front shoulder line. 

Squaring on Line 1 at C draw Line 4 the length of 
one-fourth the breast measure and place F at its left ex- 
tremity. Draw the armhole curve from E to F by placing 
the 1-inch mark in neck curve on square on F and letting 
edge of amllT(^e^*rve touch E where it will ; also draw the 
neck curve from A to B by placing the 5-inch mark in 
neck curve on B and letting square touch A where it will. 
Squaring on Line 4 at F draw Line 5 the same length as 
Line 1 below C, which in this case is twenty-two inches. 
Connect Lines 1 and 5 at the bottom and mark it Line 6. 

Now, fold the paper on Line 2 and trace the neck curve 
and Line 3, also Line 1 to C. Unfold paper and draw lines 
on the tracings as shown by Lines 7 and 8. Place G at the 
junction of neck curve and Line 7, also H at the end of 
shoulder line or Line 8. Continue Line 7 until its length 
from G is equal to the depth of back measure. Squaring on 
this line draw Line 9 the same length as Line 4 . These lines 
represent the upper part of the back portion. 

If the shirt is to have a yoke in the back, as shown in 
Fig. 308, measure down from G three inches, or the depth 
of yoke desired, and make I. Squaring on Line 7 at I draw 
Line 10, making it a quarter of an inch less than the dis- 
tance from G to H. Place J at its other extremity, and draw 
a slightly curved line from H to J. Squaring on Line 10 
at J draw Line 11 to within one and one-fourth inches of 
Line 9, then continue this to end of Line 9 by a deep down- 
ward curve as shown in Fig. 308. 

The back neck curve must be a little larger than the 
front neck curve for the reason that the back shoulder ex- 
tends over to the front, therefore extend the neck curve at 
G a quarter of an inch and draw Line 12 parallel with Line 
7, and the same length as Line 7. (See Fig. 308.) 

The back portion is usually cut with some fullness 
where it is joined to the yoke, so extend Line 10 beyond I 
from one and one-half to two inches, then draw Line 13 
parallel with Line 12, making it the full length of shirt 
which in this case would be twenty-two inches below Line 
9; also draw a line from the other end of Line 9 the same 

Pap-e Four 



length (twenty-two inches) and connect it with Line 13 at 
the bottom. 

If no yoke is desired, simply omit Line 10 and do not 
make the extension for fullness at I. The lower ends of the 
front and back sections are usually curved at the under-arm 
seams as indicated by the dotted line in Fig. 308. 

If a plaited bosom is preferred to the plain one as shown 
in Fig. 321, measure to the left of A one inch and make K 
on Line 3 ; also measure down from B the length of bosom, 
in this case, thirteen inches, and make L. Draw Line 14 
straight down from K to a point opposite L, then connect 
it with L. (See Fig. 308.) The corners of the bosom at 
the bottom may be cut square or rounding. 

To cut the drafts out cut along Line 1 its entire length, 
then the neck curve from B to A, then Line 3, armhole curve 
and Lines 5 and 6. To cut the back draft out cut along 
the center back line (12 or 13 as the case may be), then the 
neck curve up to A, Line 8, armhole curve and under-arm 
and bottom lines; also along Line 10 if yoke is used. 

To draft a shirt sleeve, fold a piece of paper through the 
center and draw Line 1 along the fold. Placing long arm 
of square along Line 1, face up, draw Line 2 along its shoit 
arm about an inch from the right edge of paper, making it 
ten or twelve inches long. Measure down two inches from 
the junction of Lines 1 and 2 and make A on Line 1. 

Next, measure the armhole of the shirt draft by measur- 
ing from F to E, and from H to Line 9 on Line 11, auc! 
use whatever this measures, for an armhole measure. Make 
B one-fourth the armhole measure on Line 2 from the 
junction of Lines 1 and 2. Squaring on Line 1 at A, dr-^w 
Line 3 making it the length of one-half the armhole measure, 
and place C at its other extremity. (See Fig. 309.) 

From A measure down on Line 1 the length of inside 
measure, minus the width of cuff, in this case two and one- 
half inches, and make D. Squaring on Line 1 at D, draw 
Line 4 making it the length of one-half the hand measure 
plus one and one-half inches and place E at its other end. 
Make F one inch from E on Line 4. Squaring on Line 4 at 
F draw Line 5 two and one-half inches long, or the width of 
cuff desired, and place G at its lower end then draw Line 

Page Six 



6 from G straight across to Line 1. Draw Line 7 from 
C to E. 

From B measure down one and one-half inches and 
make H. Draw Line 8 from C to junction of Lines 1 and 2 
by placing B on square on C and letting curved edge touch 
the junction. Draw Line 9 from H to junction of Lines 
1 and 2 by placing A about halfway between H and the 
junction of these lines. Continue it on to C from H by 
placing R in sleeve curve on reverse of square on H and 
letting the curve touch C where it will. 

Fold Line 1 over on Line 7 and it will be seen that D 
falls about one-half inch below E. Draw a line from E to 
this point and then curve slightly to about the half-way 
point between F and D. (See dotted lines in Fig. 309.) 

Trace Line 9 its full length, also trace the cuff on to 
another piece of paper, and cut along Lines 8, 7 and dotted 
line below E, and Line 4 to D. Open up draft and cut 
along the traced Line 9 for under part of sleeve curve. Line 
10 represents the opening of sleeve which should come on 
the upper part of sleeve about three inches from its back 
edge, therefore measure in this distance from E on Line 4 
and draw Line 10 parallel with Line 7 making it about six 
inches long. 

To draft a neckband make a parallelogram whose top 
and bottom lines will each be the length of one-half the neck 
measure minus three-fourths of an inch and whose sides 
will each be one inch and number them respectively Lines 
1, 2, 3 and 4. (See Fig. 310.) Make A at the midway 
point on top line of parallelogram and B at the midway 
point on bottom line. Measure up a quarter of an 
inch from the junction of Lines 2 and 3 and make C 
and place D at the junction of Lines 1 and 2. Draw Line 
5 from A to D by placing A Curve on D and letting edge 
of square touch A, extending it five-eighths of an inch 
beyond D. Move square down so that A Curve will fall on 
C and edge of square on B and draw Line 6 from B to C 
letting it extend one inch beyond C at E then draw a curved 
line up to the extended line at D. 

To draft a collar and band in one as shown in Fig. 311, 
make a parallelogram whose top and bottom lines will each 
be the length of one-half the neck measure minus three- 

Pagfe Seven 



fourths of an inch and whose sides will each be three inches 
and number them Lines 1, 2, 3 and 4 respectively. (See 
Fig. 311.) Find the midway point of Line 4 and place A 
a quarter of an inch below this point. Place B at the 
junction of Lines 2 and 3, and measure up one inch from 
B and make C. Extend Line 3 one inch beyond B at D and 
then curve up to C as shown in Fig. 311. Draw Line 5 
straight from A to C. Measure three-eighths of an inch 
to the left of C on Line 5 and make E, then draw Line 6 
from E to the junction of Lines 1 and 2. The collar folds 
over on Line 5. 

To draft a pocket as shown in Fig. 313, make a par- 
allelogram whose top and bottom lines will each be five and 
one-half inches and whose sides will each be six inches and 
number them Lines 1, 2, 3 and 4 respectively. (See Fig. 
312.) These lines may be made any length desired, how- 
ever, according to size of pocket wanted. Find the midway 
point of Lines 1 and 3 and place A and B at the division 
points. Measure up three-quarters of an inch from A and 
down three-quarters of an inch from B and make C and D 
respectively, then draw lines from C and D to the ends of 
Lines 2 and 4. (See Fig. 312.) Measure down one and one- 
half inches from the top of Lines 4 and 2 and draw Line 5 
on which the pocket lap, as shown in Fig. 312, is 
seamed unless there is no right and wrong to material when 
the seam will not be necessary, and it is simply folded on 
this line. 

Fig. 313 shows pocket ready to put on shirt. 

If there is to be a detached cuff it is made from half 
an inch to one inch wider than an attached cuff or wrist- 
band. That is, a good average size for an attached cuff is 
two and one-half inches wide and ten inches long, a de- 
tached cuff three inches by ten and one-half to eleven and 
a wristband two inches by ten. Therefore, cut the cuff or 
wristband pattern and the sleeve length accordingly. For 
instance in draft shown m Fig. 309, a two and one-half inch 
cuff is allowed for, so if a two inch wristband is used then 
place D and E one-half inch farther down, thus adding the 
half inch to the sleeve portion to make it sufficiently long 
when the wristband is attached. The extra width of the 
detached cuff over the attached one and wristband is not 

Page Eight 



taken into consideration in the sleeve length as the detached 
cuff is intended to add to the sleeve length so that lower 
edge of cuff will extend below the coat sleeve. 

When purchasing material for shirt-making always re- 
member that the 32-inch widths cut to the best advantage. 
This is such a recognized fact that most of the standard 
shirtings are now manufactured in this width, professional 
shirt-makers having demanded this standard. Percales and 
madras are the materials usually selected for general wear. 
The former come in 36-inch width while the latter come 
in both 32 and 36-inch widths. There are many more ex- 
pensive materials, such as the silk-and-cotton weaves, with 
silk stripes or figures, silk-and-woolen weaves, wash silk, 
natural-colored pongee and white Habutai Silk. The latter 
ones are good for summer wear only. 

It is the part of wisdom to shrink all cottons before 
cutting. This may be done successfully, and the color set 
as well, without affecting the newness of the material if 
the following rule is observed: 

Use a5_ earthen wefi#- or crockery basin, and to every 
two ^^»'(tf tepid water add a teaspoonful of turpentine. 
Lay trie material in, folded as it has arrived from the shop, 
and allow it to soak over night. Press out ihe water; do 
not wring it, as this will cause wrinkles ; hang it in a shady 
place, or over the clotheshorse in the kitchen or laundry 
to dry. Little or no pressing will be necessary as there will 
be few if any wrinkles, just the folds, and these may be 
worked out by pressing with a cool iron on the wrong side 
of the material. This is a splendid way to shrink the fabric 
and to set the color in all wash materials, and it may be 
applied to the most delicate colors and weaves with good 
results. Don't neglect this shrinking process, especially in 
making shirts, for if you do after the first washing the 
neckband, the most important part of the garment, will not 
fit, and it is almost impossible to allow for the shrinkage- 
even experts cannot always tell how much a fabric will 
shrink. All materials shrink in the first washing, some- 
times the higher priced materials more than the cheaper 
grades, and this is particularly true of linen in all its various 
qualities ; so be on the safe side. 

Pin the front draft on the material with Line 1 on a 

Page Nine 



lengthwise fold seeing to it that this fold in striped ma- 
terial comes either on a stripe or midway between the 
two stripes. Trace or mark along the edges, cut, allowing 
for seams and finish and remove the draft. 

Next lay the back draft with its center back line on a 
lengthwise fold observing the same point as referred to 
in the front of shirt in doing so, also mark and cut as in- 
structed for the front. 

The yoke is laid with its center back line also, on a 
lengthwise fold as a rule. 

The body and the sleeves of a shirt are always cut on 
the lengthwise of the material, as well as the front plait 
and pocket, also the neckband is usually cut lengthwise, 
while the yoke, wristbands, and cuffs may be either length- 
wise or crosswise — the latter, however, is the exception. 
Two pieces each of the yoke, neckband, wristbands or cuffs 
are needed. When cuffs are attached directly to the sleeves, 
the wristbands of course are not used. Cuffs are made 
from three-fourths to an inch deeper than wristbands and 
the matter of which one is to be attached to the sleeve must 
be borne in mind when considering the length to make the 
sleeve pattern. 

To cut the sleeve, measure off a length of the material 
as long as the sleeve pattern and fold crosswise at this 
point then pin pattern on so that Line 1, Fig. 309, will come 
on the straight of the material, then trace or mark along 
all the edges, allowing for seams and finish and trace and 
cut on Line 10, being sure that you have made this line at 
the back of the upper part of sleeve. 

Next cut the smaller pieces such as neckband, collar, 
wristbands, cuffs, pocket, etc., or whatever of them are 
to be used, making them the required size, laying the pat- 
tern for each on the material as just described, mark the 
edges and cut with seam allowance. Then cut the over and 
under-lap for the sleeve, and plait and fly for the front of 
shirt, pinning them to the section of the shirt of which they 
are to be a part. The last four mentioned should be cut 
with one of the edges in each on the selvage of the material, 
if possible, so that this selvage edge may be stitched flat 
and thus avoid the extra seam that it would otherwise neces- 
sitate. Make a difference in the width of the over and under 

Page Ten 



sleeve lap of only about one-eighth of an inch and from 
three-fourths to an inch and a quarter in their length. The 
length of the sleeve opening or Line 10 in Fig. 309 should 
be sufficient to admit of the cuff being laid out flat when it 
is laundered. Hence the length of the opening will depend 
upon the length of the cuff; one-half its length plus two 
inches being ample for the opening. 

The length of the plait and fly on the shirt fronts will 
depend upon the style of the shirt. When the opening ex- 
tends only part way down the front its length is about fif- 
teen inches, therefore, make the fly accordingly, allowing a 
seam's width for the finish at the bottom. The plait is made 
from one and one-fourth to an inch and a half longer than 
the fly, and from three-fourths to an inch wider. The width 
of the fly will depend on the allowance that has been made 
in the neckband for the lap in closing. 

For the interlinings of collar, neckband, front plait, 
wristbands and cuffs, butcher's linen or shrunken cotton is 
used — the former for the more expensive shirting, while the 
latter will answer for the cheaper. The plain outing shirts 
of flannel, chambray, soiesette, etc., 
also work shirts do not have any in- 
terlinings in the cuffs, and the soft 
turn-over collar is attached to the 
shirt. (See Fig. 314.) The same is 
true of the silk shirt in regard to in- 
terlinings. The attached collar may 
or may not be used, however. If, 
therefore, one has any hesitancy in 
undertaking shirts where the inter- 
linings are used it might be well to 
begin with one without, such as those 
mentioned above. Where the attached 
collar is used, cut by Fig. 311. It 
may be made with the turn-over and 
band in one by pinning Line 4 on a crosswise fold of the 
material. Trace or mark along the edges and allow a 
small seam all the way around. 

Cut a second piece just like this having the wrong side 
of material in each facing. Keep them pinned together se- 
curely or baste and stitch in the markings. Before begin- 

Page Eleven 




Fig. 314. 



ning to stitch turn back one edge of the neckband at D 
a seam's width and the same on the opposite end when 
finishing the stitching. This is done so that these ends will 
be secured and out of the way when sewing the other edge 
of neckband to the shirt. Before turning the collar and 
band make a diagonal clip from the edge to E to within 
two or three threads of the stitching, round off the edges 
here and clip off the corners of collar as close to the stitch- 
ing as is safe to keep from pulling out. Turn carefully, 
working the seam up to the very edge and crease or press. 

When making collar of turn-over portion and band, cut 
them separately (two pieces each) allowing for seams along 
all the edges. First stitch the turn-over portion, turn and 
stitch on the edges if stitching is to be used. Then pin the 
parts of the neckband on either side of the turn-over por- 
tion with right sides of the material facing and so that the 
long, straight edge of the band on Line 3 will be nearest 
Line 1 in turn-over. Then baste and stitch beginning at D 
and turning back one edge as described in the last para- 
graph continue around the curved end to E, along Line 5 
and finish at D on opposite side. (See Fig. 311). Turn 
the band so that the seam just made will be between its 
parts and the right sides will be on the outside. Crease or 
press along the seam when it will be ready to attach to shirt. 

Both of the collars described may be made without a 
seam along Line 1 by first cutting a full length pattern and 
placing Line 1 on a crosswise fold of the material in striped 
goods, otherwise it may be either a crosswise or lengthwise 
fold. 

In making a shirt first gather the upper edge of the 
back beginning about one-fourth its width from the arm- 
hole curve and continuing to within the same distance from 
the other side. Next pin it on to one of the yoke pieces hav- 
ing this gathered edge even with the long edge of the yoke 
piece, the right side of the yoke next to the wrong side of 
the back of shirt and the edges even at armhole. Pull up 
the gathering thread until the back lies smooth, pin three 
or four times, with the pins crosswise so they may be slip- 
ped out easily, then place the second yoke piece with its 
right side next to the right side of shirt, baste the seam, 
slip out the pins and stitch. Remove the basting, bring the 

Page Twelve 




Fig. 3ir., 



top of each yoke piece up into position as shown in the upper 
part of Fig. 308 so that the seam will come between the yoke 
pieces, crease or press close up to the seam stitching and 
stitch once or twice. (See Fig. 315.) If two 
rows of stitching are used make the first on 
Line 10 (see Fig. 308) and the second about 
a quarter of an inch above. The shoulders 
are left free as they are later joined to the 
fronts. To join the shoulders of front and 
back, having the right side of both upper- 
most, seam the under yoke edges to the front 
shoulder edges, turn under the upper yoke 
edges and baste and stitch over the seam. 
(See Fig. 314.) In models where the back is not lengthened 
by the yoke piece fell-seam the shoulders of back and front 
together ; where the applied yoke is used, the shoulders are 
joined practically the same as though the two yoke pieces 
were used, the shoulder edge of the back of shirt taking the 
place of the shoulder edge of the under yoke piece. 

Next, finish the lower edges of both the front and back 
of shirt with a narrow hem. This hem is continued up the 
sides from five to seven inches. (See Fig. 314.) 

The plait and lap may now be put on to the fronts, the 
plait on the left and the lap on the right, (which is the op- 
posite to that on a woman's shirtwaist) however, it is a 
good plan before doing so to prepare the smaller parts, also 
finish the sleeve opening. 

To make the neckband where an interlining is used 
there should be two pieces of the material facing each other 
and the interlining basted to the wrong side of one of the 
pieces. Turn the edge of the other piece back at the end be- 
fore beginning to stitch and when finishing, as was described 
in making the collar in Fig. 314. The cuffs and wristbands 
with interlining are made on exactly the same principle. 
After stitching cut the interlining close to the stitching to 
avoid the extra thickness on the edges, turn all and crease 
smoothly so that the seam comes in the crease. 

Join the underlap to the back of the sleeve opening 
from the wrong side of sleeve by placing the selvage edge 
flat about an eighth of an inch beyond the slash and stitch, 
having the right side of the lap up. Turn back the free 

Page Thirteen 



edge of the lap about a quarter of an inch, bring it to the 
right side of the sleeve and stitch along the stitching put in 
from the wrong side. Join the overlap to the front of the 
opening in the same way except that the edge on the right 
side of sleeve is brought over about a quarter of an inch 
beyond the stitching from the wrong side. Adjust the over- 
lap so as to conceal the underlap, (see Fig. 314), baste and 
stitch as described for the shirtwaist. 

The fly on the front of the shirt, which as has been 
stated, is applied to the right-hand side, is put on in exactly 
the same way as the underlap on the sleeve opening. Also 
stitch the selvage edge of the front plait on the left-hand side 
of opening in the same manner as the overlap was applied 
to the sleeve. Turn back a small seam along the free edge 
and bring it up to the right side of shirt. We have now 
come to a very important part, that is, the folding of the 
front plait. 

It must be folded so that when the shoulder seams at 
the neck curve are together the edge of the fly and that of 
the plait will be exactly even, which will bring the center 
of the finished plait when in position above the center of the 
fly. This is essential, to preserve a perfect closing, other- 
wise when applying the neckband by having its center 
pinned to the center of the yoke at neck curve it would be 
found that one end would over-reach in front while the 
other would appear too short. If an interlining is to be 
used in the plait, after it has been folded correctly, measure 
its width and cut a strip of interlining just a trifle nar- 
rower — just enough for the turning of the plait edges over 
it, making it the length of the fly. An inch and a half to 
an inch and three-fourths is a good width for the plait. 
Baste the interlining on so that one edge will come along 
the inside of the folded edge of plait, then let the free edge 
of plait turn over the other edge of interlining, baste through 
the three thicknesses, adjust the plait into position, if the 
opening extends only part way down the front, so that its 
center will come exactly above the center of the fly and 
stitch. To make the stitching continuous from one side of 
the plait to the other and across the fly at its lo^^er end, 
begin the stitching at the top of plait continuing to within 
half an inch of the lower end of fly and turn so as to stitch 

Page Fourteen 




directly across the plait, when the other edge of plait is 
reached turn so that plait will be in the same position as 
when beginning the stitching (its lower end toward you) 
and take about three stitches, turn and stitch back across the 
plait. This will hold the plait securely in 
position over the fly. Continue the stitch- 
ing around the point or the square end at 
bottom of plait, as the case may be, and 
when you come to the stitching across 
the plait raise the presser-foot and draw 
the work up sufficiently to turn the fly back 
out of the way, take the slack out of the upper 
Fis. 318. thread by giving the spool a turn or two and 
continue stitching on edge of plait to the neck. The extra 
length of the under thread may be cut in the center, both 
ends brought to the underneath side of the underlap and 
tied. 

The coat-shirt differs from the older style in that the 
front opening extends the entire length of the shirt. (See 
Figs. 316 and 317.) You will observe that 
in Fig. 316 the plait extends the full length 
of the opening, while in Fig. 317 it extends 
only part way down, the remainder being 
finished in a narrow hem, like the bottom. 
In either case the fly extends the full length 
of shirt or may terminate with the plait in 
Fig. 317 and then the balance of the right 
front hemmed to the bottom like the left. 
The plait is much more easily put on the coat- 
shirt than the other style. 




Fig. 317. 



Join the neckband to the neck by pinning the center of 
band with its double edge, where an interlining is used, to 
the center of the back of shirt so that the seam will come 
on the right side and continue to pin until the ends are 
reached, baste and stitch. Turn in the free edge of the 
band and baste it over the seam. Stitch close to the edge. 

Join the sleeve to the shirt by having the wrong sides 
of each facing, the edge of sleeve nearest the opening to- 
ward the back of shirt, its upper edge a seam's width from 
armhole and stitch. Then turn this seam's width over the 

P?ige Fifteen 



edge of sleeve, slashing the edges, where necessary to make 
them lie flat, baste and stitch close to the edge. 

Before seaming up the sleeve and side seams apply the 
pocket to the left side of shirt, if one is to be used. For the 
position see Figs. 316 and 317. 

Sew the side seams and the sleeves up in the same way 
as sleeves were joined to the armholes, beginning both the 
first and second rows of stitching at the side where the 
narrow hem terminates and continuing to the bottom of the 
sleeve. 

Gather the sleeve along its lower edge and when join- 
ing it to the cuff, push the fullness back so that the sleeve 
will be plain from an inch and a quarter to an inch and a 
half on either side of the opening. The cuff is joined to the 
sleeve in the same way as neckband was sewed to the neck. 
It is stitched on the edges with either one or two rows of 
stitching. 

A gusset at the termination of the side seam will add 
to the strength and prevent tearing out at this point. It 
is a small square of material about an inch and a half each 
way. A narrow hem is turned on two edges, the corner 
formed by these edges placed at the finish on the wrong 
side of the side seam, and the gusset overcast to position. 
It is then folded diagonally through the center over on the 
outside, the free ends turned in for a hem, and the whole 
sewed securely to the shirt. Whenever a gusset is used it 
is always best to sew it by hand. 

The shirt is now ready for the buttons and buttonholes. 
It is very important to have both match accurately in the 
collar, neckband, cuffs or wristbands as well as the front of 
shirt. If they are not placed correctly in the front of shirt 
and neckband the closing will not be straight. Select small, 
flat, untrimmed pearl buttons, using them about three inches 
apart down the front, as a rule. Sew them on loosely but 
firmly. To do this place a pin across the button and work 
the stitches over the pin, then remove pin, pull the button 
up from the material as far as possible and wind the thread 
around the button several times. This will form a sort 
of stem to insure ease in fastening when the shirt is freshly 
laundered. On the soft, unstarched shirts a button is used 
on each wristband and on the neckband. Preparatory to 

Page Sixteen 



sewing on the buttons and making the buttonholes, divide 
the space down the front plait equally from top to bottom 
placing a pin at the division points. Cut the buttonholes in 
the plait lengthwise, letting the center of each come to the 
division points marked by the pins. After working the 
buttonholes, pin the fronts together, lapping as they should 
be, and mark the position of each button through the center 
of the buttonholes. The buttonhole in the neck or collar- 
band is made lengthwise of it, which will be in the opposite 
direction from those in the plait. 

A buttonhole on the left-hand side only is made when 
a button is used as in Fig. 314, but one is made on either 
side of a neckband (see Fig. 316) as a collar button will 
then be used. To mark for buttonhole, button the front of 
shirt up and lap the neckband as it is to be holding it in 
place by a pin put in crosswise of the band and in a line 
with the buttons and buttonholes in the front. If the mater- 
ial will not show the pin marks, mark across the pin with 
chalk both on the outside and underside of band. On the 
left-hand end of band begin the buttonhole a trifle (about a 
tenth of an inch) nearer the end than the pin mark indi- 
cated so as to allow for the shank of the button. Also sew 
the button a trifle nearer the right-hand end than marking 
indicates. When a buttonhole is to be made on the right- 
hand side of band observe the same point as referred to 
above. Otherwise the neckband will be a little tight when 
closed due to the room the shank of the button or collar but- 
ton takes up in the buttonhole. 

A buttonhole is put in the center of the neckband at 
the back ; it also being put in lengthwise. Mark the center 
of the band carefully and see to it that the center of the 
buttonhole comes to this point. 

In some neckbands as a protection to the neck from 
the collar button, the buttonhole does not go through the 

two lower thicknesses 
and in such cases there 
is an extra piece used in 
the band. (See Fig. 318.) 
The two upper thick- 
^*^' **^' nesses are left loose at 

the bottom edge of the band for about two and one-half 

Page Seventeen 




inches, that is, one and one fourth inches on either side of 
the center. An extra thickness of the shirting may be used 
either the full length of the band or a piece an inch or a 
little more, longer than the opening at lower part of band, 
say three and a half to three and three-fourths inches, mak- 
ing it the full width of the band in the back. 

Make the band in the ordinary way, having the section 
which comes on the outside of band cut with the extra piece 
on to it. This is done by placing the pattern on the fold of 
the material from one and one-fourth to one and one-half 
inches on either side of the center, letting this piece extend 
the full width of the band so that its edge will be caught 
in the seam at the top of neckband and cutting the re- 
mainder only one thickness with the seam allowance. After 
the layers of the band have been stitched, turned and sewed 
to the neck in the usual way, as this is the most convenient 
time, work fhe buttonhole from the right side. Cut it 
lengthwise of the band a little below the center of its width 
so the middle of the buttonhole will come in the center of 
the band. Make the buttonhole half an inch long. A but- 
tonhole in which the collar button is used should be sufficient- 
ly small to avoid it slipping out too easily. Cover the seam 
at the center of the back with a strip of material about three 
inches long and as wide as the band, having the center of 
each even and stitching on the outside at the bottom. Turn 
back a seam's width along the remainder of the lower edge 
of the band and baste its loose edge to within one and one- 
quarter inches of center back and stitch from that point 
all the way around to within the same distance from center. 
Figure 318 shows the upper part of band standing out ready 
for the collar button. 

The same point as to the cutting of the buttonholes and 
in sewing the buttons on the wristband is to be observed as 
referred to in the collar. The cuff or wristband is first 
pinned as it is to lap, a pin being put in crosswise in the 
center of this lap so that an equal amount will come on either 
side of the pin. In the soft, unstarched shirt one buttonhole 
and button is used on each wristband being about half an 
inch from where the band joins the sleeve. Where cuffs 
are used, a buttonhole should be made on either edge of 
them, marking and cutting as instructed for the ends of the 

Page Eighteen 



neckband. They are cut, however, a little further from 
where they join on sleeve than the wristband, since they are 
wider. In fact, they should be nearer the other edge of cuff. 
When making a detached cuff, as previously stated, it 
should be from one-half to an inch wider than an attached 
cuff or wristband, a good average width being three inches 
by ten and one-half to eleven inches. Cut the width and 
length required. One or two layers of the interlining should 
be used between the outside and inside sections of the cuff. 
Place the sections cut from the shirting with like edges to- 
gether and the right sides facing each other with the 
interlining basted to the wrong side of one of the pieces, 
having the lower edges turned back a seam's width before 
stitching. To avoid the extra thickness by turning back the 
interlining along the straight edge of cuff do not allow for 
the seam on the interlining on this edge. Also, if a cuff for 
the linked cuff buttons is wished it will be necessary to in- 
clude a tab into the seam of the cuff. 
(See Fig. 319.) The cuff tab is made 
by seaming together two tab sections 
^ with one of interlining, its being from 



Fig. 319. five-eighths to three-fourths of an inch 

wide by seven-eighths to one inch long when finished. A 
pattern may be made accordingly, if desired, and a seam 
allowed all around. Lay the right sides together with the 
interlining on the wrong side of one of the pieces, stitch, 
trim the seam, turn and stitch again close to the edge. The 
tab is then basted between the outside and inside cuff sec- 
tions and on the opposite end of each cuff, with the ends 
of the tab and cuff even and the lower edge of the tab even 
with the turned back edge of the cuff. Stitch the cuff and 
turn. When it is turned, the tab will extend in correct posi- 
tion. (See Fig. 319.) The cuff is next basted along its 
straight edge (a seam's width having already been turned 
back) and stitched all the way around the edge. A second 
row of stitching is usually put in about a quarter of an 
inch from the first. In this tab a buttonhole is worked the 
proper size for the cuff button and another of corresponding 
size in the other end of the cuff. Those near the other edge 
of the cuff should be made to fit the linked buttons. (See 
Fig. 319.) The tab cuff may be attached to the sleeve when 

Page Nineteen 



desired. They are made the same except that when pre- 
paring them to stitch the first time the double edges are left 
out to stitch to the sleeve, the single thickness only being 
turned back. The tab is seamed in with cuff as described, 
having its straight edge a seam's width from the straight 
edge of the cuff. Turn the cuff, and crease. At the end of 
the sleeve turn the underlap under, letting it lie there flat 
like a hem. Gather the lower edge of the sleeve as before 
instructed. Baste the double edge of cuff to the sleeve hav- 
ing the end to which the tab is attached even with the 
edge of the overlap, the tab extending beyond and the 
inside of the cuff section next to the inside of the sleeve. 
Stitch across this straight edge, baste the free edge over 
the seam thus made and stitch around the cuff with one or 
two rows. The buttonholes are made as instructed for the 
detached cuff. In fastening, the tab is lapped over the op- 
posite end of the cuff so that the buttonholes in each meet. 
A buttonhole is worked in the middle of the overlap near 
the cuff and a button sewed on the underlap to correspond 
with it. 

At present detached collars made of the same ma- 
terial as the shirt are much in vogue. Make as instructed 
for collar with turn-over portion and band having an in- 
terlining in both. A detached collar should be from one- 
fourth to one-half inch larger than neck measure. This 
varies according to different men's opinions of the loose- 
ness of their collar. 

To draft band and turn-over portions for a detached 
collar make a parallelogram whose top and bottom lines 
will each be the length of one-half the neck measure minus 
one-half inch and whose sides will each be the depth of 
the band and turn-over taken together plus one-fourth to 
one-half inch according to the style of the collar. In Fig. 
320 are indicated two different styles. The solid lines rep- 
resent one with perhaps the most ordinary .width band 
measuring one and one-quarter inches in the back of neck 
sloping off to three-fourths of an inch in front, while the 
turn-over is one and one-eighth of an inch in the back and 
two and one-half in front. The broken lines represent one 
whose band at center back is one and three-fourths inches 
in width and whose turn-over is two inches. 

Page Twenty 



Place A one-fourth of an inch from the intersection of 
Lines 3 and 4, B at the intersection of Lines 2 and 3 and 
draw a slightly curved line from A to B as shown in Fig. 
320. Extend Line 3 one inch and make dot C. Measure 
straight up from B three-fourths of an inch and make D. 
Make a point one inch to the left of D, raise it about an 
eighth of an inch and make E. Measure up from A on 
Line 4 one and one-quarter inches and make F. Draw Line 5 
by placing A Curve midway between F and E, letting the 
square touch these two points and then draw a downward 
curve from E to D. Place G one-quarter of an inch above 
C, connect B and G and draw a curved line up to the ex- 
tended line to the right of D. This completes the band. 
For the turn-over, measure up from F the depth it is to be 
in the back, in this case one and one-eighth inches or l^ of 
an inch less than band at center back, therefore place H this 
distance from F. Make I as far from D as turn-over is to 
be there, in this case two and one-half inches, and draw Line 
6 which is slightly curved from H to I . 

For the deep band and turn-over proceed in the same 
manner as given above. J is one-half inch from intersection 
of Lines 3 and 4. Extend Line 3 five-eighths of an inch from 
C and make K then place L one-half inch above K. Draw 
Line 7 by placing A on square on B and letting armhole 







Li, txe 3 

Fig. 320, 



curve touch J. M in this case is placed one and three-fourths 
inches above J. In a deep collar the upper part of the band 
on draft should be as much as one-half inch less than at base 
of neck, therefore, place O one-half inch to the left of N. 

Page Twenty-One 




Draw Line 8 in the same way as Line 7 was drawn by 
placing A on square on and letting armhole curve touch 
M. P is placed the depth of turn-over at the center back 
from M, in this instance two inches. Line 9 is drawn in 
a slight curve to within three-fourths of an inch from Line 
2 and then in a deep curve to a point about seven-eighths 
of an inch above N and then a straight line to 0. (See 
broken Line 9 in Fig. 320.) 

THE PLAITED SHIRT. 

This style is suitable to every material that is used for 
men's shirts, the washable pongee that is 
much used just now, linen, madras, per- 
cale, etc. It is finished with a neckband 
over which the separate collar is adjusted. 
(See Fig. 321.) It may be made with the 
yoke at the upper part of back as shown 
in Fig. 315, with the applied yoke (that 
is a yoke stitched on to the plain back), 
or the back may be plain. 
Pig. 321. The fronts of the shirt are cut in the 

usual way, the bosom tucked or plaited and arranged over 
them, which are cut away beneath. The fly on the right 
of the bosom and the box-plait on the left need not be cut 
separately as in the ordinary shirt, but may be allowed 
for and cut with the plaited portions, in which case the 
right front is hemmed and a simulated box-plait is made 
on the left front. That is, say the plait is to be made one 
and one-half inches wide, then measure this distance from 
the edge and fold the material back, making the fold or 
crease on the right side of the goods, then stitch say one- 
fourth of an mch from the folded edge. To form the inside 
edge of plait trace from the wrong side along the turned- 
back edge and fold back again on this tracing, catching the 
edge between the two fabric layers and stitch back the 
same distance as from the first fold — one-fourth of an inch 
in this case. Smooth the plait out from the wrong side 
of the material and crease along the last stitching made so 
that the tuck will lie in the opposite direction from outside 
edge of plait. 

In some models the box-plait on the left-front is omit- 
Page Twenty-Two 



ted, the side plaits meeting each other at the center front 
with no space between them and the fastening made in- 
visibly underneath their edges by buttons and buttonholes; 
in some there is a space between the tucks or side plaits 
while in others there are clusters of small tucks with a large 
one between the clusters and in others the bosom is com- 
posed of box-plaits as in Fig. 321. In making the plaits and 
tucks see that they take up just the space intended for them 
on the fronts (see Line 14 and dotted line from bottom of 
Line 14 to L Fig. 308) and that the closing (the center of 
each front) comes directly over Line 1 from B to L. By 
pinning the bosom on to the original fronts you may be 
assured of their correct position and of the closing. 

In linen and material where the threads are easily 
drawn a thread or two is drawn for each tuck, an inch 
apart for half-inch tucks, half an inch for quarter inch 
tucks, etc. A crease is then made between these spaces and 
the stitching done on the line of the drawn thread. 

If studs are to be used to close the shirt in front eye- 
lets should be pierced and worked instead of buttonholes 
and as the importance of a perfect closing has been ex- 
plained the eyelets in each side of the shirt should meet 
exactly. 

There is a method of working buttonholes on both sides 
of the front, sewing the buttons to a separate strip of ma- 
terial, so that they may be removed when the shirt is to be 
laundered. 

THE NIGHT SHIRT. 

Night shirts are, as a matter of fact, made looser or 
more roomy than a negligee or dress shirt. They may be 
cut from the shirt draft shown in Fig. 308, however, with 
additional breadth and length. For instance, about eight 
inches should be added to the breast measure which would 
be equivalent to four inches each on the front and back. 
Also, the neck should be from one and one-half to two inches, 
depending upon the looseness one wishes the collar and add 
to the neck measure accordingly. 

Add from fifteen to twenty inches to the length. It 
will be remembered that in the shirt draft Line 1 was ex- 
tended twenty-two inches from Line 4 and the same in the 
back from Line 9, so add the required amount to the length 

Page Twenty-Three 



in cutting the front and back. To cut the front, place Line 
1, (Fig. 308) as far from the fold of material as one-fourth 
the increase to be made in the neck, for so long as it is cut 
on the double, half of the increase will be made on the front 
and the other half on the back which is also cut on the 
double. For example, if the neck is to be increased one and 
one-half inches on the whole one-half of this will be added 
to the front and in that case pin pattern on the material 
with Line 1 three-eighths of an inch (or one-half of three- 
fourths) from the fold. While in this position cut along the 
neck curve and at the bottom having added the required 
amount. Place several pins in the material along Line 1 as 
a guide in adding the extra width. Unpin the pattern and, 
without raising or lowering it, move it back from the line 
of pins one-half the amount that is to be added to the width, 
(two inches in this case.; That is, if eight inches is added 
to the entire breast measure then four inches will be added 
to the front, or two inches on the double, as explained. 
Next cut along the shoulder line, around the armhole and 
down the under-arm until within six or seven inches of the 
bottom, or Line 6, then curve the line of cutting to meet it. 

To cut the back, if it is to be cut without fullness, or 
an applied yoke, place Line 12 (see Fig. 308), the same dis- 
tance from the fold as Line 1 was placed in the front and 
cut to Line 9 then extend as far below as front was extended 
from Line 4. Place pins along Line 12, unpin the pattern 
and move back the same as the front, to give the additional 
width. If, however, the back is to have a yoke attached to 
it, to cut yoke piece place the back pattern on the 
material just as has been described, except to extend only 
to Line 10. (See Fig. 308.) (Remember to add the same 
amount next to the armhole as was added in front) . Then 
to cut the back portion below the yoke, place Line 13 on the 
fold of material and extend and add to the width as already 
described. 

If preferred a new pattern may first be made for the 
front and back from the regular shirt draft as has been 
described for the cutting of the material. 

Make the sleeve draft as already instructed and as 
shown in Fig. 309, with the exception of the cuff at the bot- 
tom of sleeve and Line 10 for the opening for as a rule these 

Paee Twenty-Four 



are omitted, however, they may be used and the sleeves made 
just as in a negligee shirt. Ordinarily the attached cuff and 
the opening are dispensed with in the night shirt, the ap- 
plied cuff being used and the sleeve closed all the way up. 
Remember in the latter case the sleeve is made longer than 
when the attached cuff is used and sleeve is made about 
two inches smaller at the bottom, therefore, in making Line 
7 draw it from C to F instead of from C to E. The applied 
cuff is made about three inches deep in front and is increased 
about an inch in the back. (See Fig. 322.) To apply, stitch 
the lower edge of the cuff and sleeve together, having the 
cuff next to the wrong side of the sleeve. Bring the cuff to 
the right side of the sleeve, crease along the seam just made, 
turn under a seam's width along the top of cuff and stitch 
into position. 

Night shirts for winter wear are made with the collar 
as shown in the first illustration in Fig. 322, while the 

cooler ones for sum 



mer are made with a 
low neck and without 
a collar as in the sec- 
ond illustration. To 
make the former pro- 
ceed as has already 
been given. The only 
difference in the latter 
is the finish of the 
neck and front. Cut 
the neck down as 
shown in the illustra- 
tion. Then cut an 
underlap and overlap 
Pig. 322. the inner edges of 

which are cut by the neck and front opening and the other 
edges made parallel. These laps are from one and three- 
fourths to two inches wide and extend to the shoulder seam 
and are lined with similar pieces. Since they extend only 
to the shoulder seam they should be put on before the front 
and back are joined together. 

The pocket may be made as shown in Fig. 313 and ap- 

Page Twenty-Five 




plied to the left front of shirt before stitching up the side 
seams. 

The shirt is left open at the side from fourteen to six- 
teen inches from the bottom, the narrow hem extending to 
the termination of the openmg. 

For the medium size night shirt it will require about 
five yards of material thirty-six inches wide. 



MAKING A BATH-ROBE. 

Take the same measures for a bath-robe as for a shirt 
and allow for additional breadth as described for the 
night shirt as a bath-robe should also be quite large 

and roomy. Draft a pattern the 
same as for a shirt extending the 
front, back and under-arm lines 
the desired length. To give the 
necessary width at the bottom, a 
box-plait must be introduced at the 
center-back. (See Fig. 323.) To 
do this extend the neck curve 
beyond G three inches, then draw 
a line from the end of this line 
parallel to Line 7 extending it to 
bottom of draft. If robe is made 
double-breasted allow from two to 
Fig. 323. fQ^Y inches beyond Line 1 for it. 

(See dotted Lines 15 and 16 in Fig. 324.) 

Now lay the front and back sections so that the breast 
lines or Lines 4 and 9 will be one continuous line as shown 
in Fig. 324. Let Line 15 be placed on a fold of the material 
and outline with chalk and markstitch all around the edges, 
also Lines 1 and 7 as they are the true center front and 
center back lines, then cut, allowing from three-quarters to 
one inch for seams on shoulder lines and neck curve and a 
hem at the bottom. There will be no under-arm seam. 

The sleeve is drafted the same as the shirt sleeve with 
the exception of the cuff or wristband. Instead of allowing 
for a wristband draft the sleeve full length, allowing one 
and a quarter inches for a hem and do not draw or use 
Line 10. 




Page Twenty-Six 



To cut a collar lay the front and back shirt drafts to- 
gether as previously described for cutting the Dutch collar, 
making it the depth desired. 

The easiest kind of a bath-robe to make is the blanket 
bath-robe. The blankets can be purchased made precisely 
for that purpose. Some of them are plain, with just a 



15 



1 

1 V 


J 4 


7 


S ) 



i(o 



Fig. 324. 

straight border decorating the ends. The most popular 
kind seem to be those having a figured design all over as 
well as the border at the ends. There is no question of 
trimming it. The only knowledge of dressmaking it in- 
volves is how to finish the edges and the seams neatly, and 
how to make the collar and pockets. 

Blanket bath-robes are suitable for both men and boys. 
To make the robe for a man of any size will require a 
blanket measuring seventy-two inches by ninety. To make 
it for a boy of twelve years will require a blanket fifty- 
eight inches by seventy-two. Bathrobes after this style 
are made from towelling also, towels for the purpose being 

Page Twenty- Seven 



obtained just like the blankets. And again, any material, 
such as eiderdown or flannel, may be joined in straight 
widths to the required size and then cut. The former, how- 
ever — the blankets and towels — seem to be the most popu- 
lar for these robes. 

The seams and all the cut edges should be bound with 
sateen before stitching them down flat to give them a neat 
finish. The sateen should be cut into bias widths about an 
inch wide. A heavy cord will also be required to wear 
around the waist and perhaps a smaller one to fasten the 
neck. 

After the pieces are all marked and cut, the first step is 
to lay the box-plait at the center back. Bring the mark- 
stitching lines that represent Line 7 together and baste them 
to five or six inches down from the top. Then form the 
box-plait by folding so that Line 15 will come directly over 
Line 7. This plait is not to be carried down to the hem of 
the robe but stitched about six inches down from neck. 
This plait may be laid as an inverted plait, if preferred. 

Baste the shoulder seams, then try on, lapping the 
fronts. If the shoulders do not set smoothly clip the bast- 
ings while the garment is on, allow it to set easily, then 
pin the seams in the new position letting the seam edges 
come on the outside. They can be marked afterward, then 
rebasted and stitched on the wrong side. Now bind the 
edges of the seams, also the front and bottom edges with 
the sateen. Turn under the hem at the bottom and baste 
and stitch it. The sleeves are basted and stitched and edges 
bound in the same manner. The lower edge of the sleeve is 
also bound then turned under one and a quarter inches in 
a hem. 

Pin the sleeve into the armhole and baste smoothly 
around. There will be no gathers in the sleeve, but it should 
be slightly larger than the armhole and eased in in order 
to set well. After basting both sleeves in, try on to see 
that they set correctly, then remove robe and stitch the 
sleeves in. When they are stitched, bind the armhole. 

The collar should be made double. Lay the two right 
sides together and baste and stitch them around the outer 
edges. Trim the edges neatly, then turn the collar out on 
the right side and baste it close on the edge and add a row 

Page Twenty-Eight 



or two of stitching. Pin the collar to the neck of the gar- 
ment at the center back and at the front ends. Then baste 
it, holding the garment on the under side so as to ease in 
any fullness of the collar evenly. Try on, allowing it to 
roll smoothly. Remove and stitch, then turn under the free 
edge of the upper side and fell it over the cut edges of the 
seam. The ends of the collar meet in the center front or at 
Line 1, whereas the garment itself laps over. The top edges 
of the garment that lap over should be turned under on the 
wrong side and a bias strip of the sateen or silk felled over 
it. 

Either one or two pockets may be used. They are the 
simplest kind — the patch pocket, and are applied like those 
of a shirt. There now remains to make the little straps 
to apply at the waistline under the arms through which 
the cord will be run. Cut lengthwise strips about three 
inches long and one and one-half inches wide. Turn under 
all the edges and baste them; then fold the strip in the 
middle down its length, baste the edges together and stitch 
them all around. Stitch each end to position. Fasten the 
neck with two small cords. 



Page Twenty-Nine 



QUESTIONS. 

1. How many and what measures are taken for draft- 
ing a man's shirt? 

2. (a) How are points A, B, C and D obtained? 
(b) What determines the length of Line 4? 

3. (a) How are Lines 8 and the neck curve from A 
to G obtained? (b) What determines the length of Line 
7 to Line 9? 

4. (a) What does the space between Lines 8 and 10 
represent? (b) Why is the back neck curve drawn a little 
larger than the front curve? (c) What does the space 
between Lines 12 and 13 represent? 

5. (a) Explain how the lines are drawn for the 
plaited bosom, (b) How are the drafts cut out? 

6. (a) How is the armhole measure ascertained for 
drafting a shirt sleeve? (b) How is the length of Line 7 
determined below E ? 

7. Explain the tracing and cutting out of sleeve draft. 

8. (a) Draft a neckband for a 15-inch neck and send 
in for inspection, (b) Draft a collar and band in one for 
a 15-inch neck and send in for inspection. 

9. What difference is made in the sleeve draft for a 
wristband instead of a cuff? 

10. What is the best way of shrinking materials? 

11. (a) How are the front and back drafts laid on 
the material and cut? (b) The sleeve? 

12. Why is it necesasry to cut the over and under-lap 
for the sleeve also the front plait and fly with one edge on 
the selvage? 

13. Briefly explain how the collar and band in one is 
cut and made. 

Page Thirty 



14. (a) Briefly describe the putting together of the 
yoke and back portion, (b) How are the shoulder seams 
joined? (c) How are the under and over-lap attached to 
the sleeve? 

15. Explain fully how the fly and plait are put on the 
front of the shirt. 

16. (a) How is the neckband attached? (b) How 
are the sleeves sewed in? (c) How are the gussets cut 
and put in? 

17. Explain fully the marking for buttons and button- 
holes on the front and neckband of the shirt. 

18. Explain how the protection neckband is made and 
attached to shirt. 

19. (a) How is the detached cuff made? (b) How 
is a tab made and attached? 

20. (a) Draft a pattern for a narrow band detached 
collar for a 15-inch neck and send in for inspection, (b) 
Draft a pattern for a deep band detached collar for a 15- 
inch neck and send in for inspection. 

21. (a) In a plaited shirt how is the center front 
plait cut and finished? (b) In what other way may the 
closing be finished? 

22. (a) What difference in the front and back drafts 
is made for a night shirt? (b) How is the front cut? (c) 
The back? 

23. (a) What difference is made in the sleeve draft? 
(b) How is the sleeve for a night shirt made? 

24. What changes are made in the front and back 
drafts for a bath-robe and how are they laid on the ma- 
terial ? 

25. (a) How are the seams finished, (b) How is 
the collar made and attached? 

Page Thirty-One 




Section of Mailing Room of American College of Dressmaking. 



Over 3000 letters have been received in a sin- 
gle day. Over one per cent of the entire postal reve- 
nue received by the Postoffice at Kansas City is pro- 
duced by the American College, our annual postage 
bill being approximately $25,000.00. 

Mail is received almost daily from every coun- 
try on the face of the globe. Tell your friends of 
our work and have them write for our booklet tell- 
ing how we teach dressmaking by correspondence. 



Address 



American College of Dressmaking 

KANSAS CITY, MO. 



Page Thirty-Two 



THE 

AMERICAN SYSTEM 

OF DRESSMAKING 



A Course of 

Instruction by Mail 

in the 

Science and Art 

of 

Successful 

Dressmaking 

And Ladies' Tailoring 



Lesson No. 17 



The American College of Dressmaking 

(Associated Training Schools, Proprietors. ) 

KANSAS CITY, MO., U. S. A. 



Copyrighted 1906, 1907, 1908 and 1909 
byJ.M.Stelle 

Copyrighted 1910 and 1911 
b^ Associated Training Schools 



Jill rights reserved. 



Printed in the United States. 



Cl)e 



American ©pjstem 
of Bre00mafetng 

TAUGHT ONLY BY THE 

3ltnertcan College of Bressmafeins 
Hansag €it^, JHo. 

Miss Pearl Merwin, Supervisor. 

Lesson No. 17 

DRAFTING BOYS' KNEE PANTS. 

The following five measures are used in drafting boys' 
pants: Waist, seat width, outside length, inside length, 
and knee. 

Waist measure : ' Pass the tape around the waistline 
taking a rather loose measure. 

Seat width : Measure over the largest part of the seat 
and on around to the front. 

Outside length: Measure from the waistline, down 
over the hip to knee. This should be the length you wish 
to make the pants. 

Inside length: Measure from the crotch down to the 
knee, or the length desired. 

Knee measure : Take the measure around the knee the 
width you wish the leg of the pant to be at that point. 

The draft used here is made from the following meas- 
ures : Waist 24 inches, seat width 32 inches, outside length 
16 inches, inside length 8 inches, knee 13 inches. 

FRONT OF PANTS. 

Measure in one inch from the edge of paper next to 
you and lay square (face down) so that its long arm will 
extend along the long edge of paper and short arm along 
the left hand edge of paper and draw a line the length of 

Page Three 



the outside measure, which 
in this case is sixteen 
inches, and mark it Line 1. 
Also draw a line along the 
short arm of square making 
it the length of one-half of 
knee measure minus one- 
half inch and mark it 
Line 2. The knee meas- 
ure in this draft is thirteen 
inches ; one-half of thirteen 
is six and one-half which 
minus one-half inch leaves 
six inches for the length of 
Line 2. (See Fig. 300.) 
Place A at the junction of 
Lines 1 and 2 and place B 
at the left end of Line 2. 
From A measure up on 
Line 1 the length of inside 
measure and make C. 
Squaring on Line 1 at C 
draw Line 3 making it the 
length of one-fourth the 
seat measure minus three- 
quarters of an inch and ^^^' ^"®- 
place D at its left extremity. Again squaring on Line 1 at 
the top or E, draw Line 4 making it the length of one-fourth 
the waist measure minus one-half inch and place F at its 
left end. (See Fig. 300.) 

Draw Line 5 from B to D by placing A on square on 
B and letting edge of square touch D. Draw Line 6 from 
D to F by placing the three-inch mark on neck curve on D 
and letting edge of square touch F. In this instance the 
face of square will be down and the curved edge on long 
arm will touch F. (See Fig. 300.) This completes the 
draft for the front of pants. 

BACK OF PANTS. 

Again lay long arm of square along long edge of paper 
next to you and short arm along the left edge and draw a line 
the length of outside measure, and mark it Line 7. Also 

Page Four 




draw a line along the short arm making it ten or twelve 
inches long and mark it Line 8. Place G at the junction 
of Lines 7 and 8. (See Fig. 301.) From G measure to 
the left three inches on Line 8 and make H. From H meas- 




FIG. 301 

ure to the left on Line 8 one-half the knee measure plus one- 
half inch and make L From G measure up on Line 7 the 
length of inside measure and make J. From J measure 
to the left two inches and make K. (See Fig. 301.) From 
K draw Line 9 to the left making it the length of one-fourth 
the seat measure, plus three-fourths of an inch and place L 
at its left extremity. Draw Line 10 from I to L by placing 
A on I and letting edge of square touch L. Draw Line 11 

Page Five 



straight from H to K. Placing corner of square on H meas- 
ure Line 11 to K then holding this point firmly on K move 
end of square down until the mark indicating the outside 
length on square touches Line 7 and continue Line 11 to 
Line 7 at this point. (In this case H to K measures eight 
and one-eighth inches ; holding the eight and one-eighth inch 
mark on K, move end of square down until the sixteen-inch 
mark touches Line 7.) Place M at the junction of Lines 7 
and 11. (See Fig. 301.) 

Squaring on Line 7 at M draw Line 12 to the left mak- 
ing it the length of one-fourth of the waist measure plus 
one inch for ease and place N at its left end. Draw Line 
13 from L to N by placing A on square on L and letting 
edge of square touch N. Continue it above N three inches 
in the same gradual slope and place at the top. Draw 
Line 14 from M to by placing A Curve on M and letting 
edge of square touch 0. Continue Line 14 beyond M one 
and a quarter inches and draw a line from the end of this 
line parallel with upper part of Line 11, making it from 
six to seven inches in length and connect it with Line 11. 
(See Fig. 301.) This is for the flap on the sides. 

Cut the front draft out on Lines 1, 2, 5, 6 and 4 and 
the back on Lines 8, 10, 13, 14, 11 and the flap. Pin the 
drafts on the material and outline all the edges with chalk, 
markstitch them, and cut, allowing good big seams on the 
inside lines; also one and a quarter inches for hems at the 
bottom and three-eighths of an inch at the top. 

Sew up the inside seams and stitch them flat on the 
right side; sew the inside seams of each leg, then joining the 
inside seams at the seat line, baste and stitch the front and 
back seams, then press well and stitch on the right side. 
Hem the bottom of each leg portion and finish the placket 
with a facing. Sew a band on the inside at the top for the 
buttonholes to button on to waist. The band can also be 
tacked to the pants between the buttonholes. 

If the pants are to have a back pocket, it must be put 
in before the seams are basted and stitched. Mark where 
the pocket is to come and run a colored thread along the 
mark so that it is visible on both sides of the material. Cut 
a piece of the cloth two inches wide and one inch longer 
than the pocket mark and baste it with its right side fac- 

Page Six 




ing the right side of the material and in such a position 
that the pocket opening or mark will run directly through 
its center and leave one-half of an inch at each end. Baste 
a piece of canvas the same size as the piece of cloth and in 
same position, on the wrong side of material. Two rows of 
stitching must now be put in, one an eighth of an inch 
above the pocket mark and the other an eighth of an inch 
below. Do not stitch across at the ends. Tie the ends of 
the thread of the stitching firmly, then cut through carefully 
exactly on the pocket mark with a sharp pair of scissors or 
a knife, and cut just the length of mark. Remove the bast- 
ings from the piece of cloth, and push the ends through the 
pocket opening (Fig. 302), and baste around the opening 
from outside, letting 
the loose part of cloth 
form a cord beyond 
the stitched edge of 
the seam, but no more 
than an eighth of an 
inch. At the ends the 
cloth piece may be 
drawn entirely 
through the opening ^ . , . .^^.^ 

and basted flat on the 
wrong side. Draw the ^*s- *®2. 

two edges of the opening together with loose overhand 
stitches and press very thoroughly. (See Fig. 226.) Stitch 
around the opening from the outside as close to the seam 
as possible. 

Cut the pockets from some strong lining about seven 
inches long and four and one-half inches wide. It will re- 
quire two of these pieces for each pocket. Cut two of the 
corners rounding for the lower edge of pocket and face the 
upper edges with the material as shown in Fig. 230, Lesson 
18. Insert the pocket according to instructions given in 
Lesson 13, and finish neatly. 

If the pants open down the front, the opening must 
be faced with fly portions. Cut a piece of lining the length 
of the opening and about one and one-half inches wide and 
shape it at lower end by the front portion. Baste this on 
the outside of the front edge of the left front portion and 

Page Seven 



stitch along the edge. Turn the facing over to the wrong 
side, allowing the cloth edge to extend over far enough to 




Fig. 302-A 

conceal the lining, and baste in place. Cut two more facings 
like the first one, one of the cloth and one of the lining. 
Stitch together on the same edge as the first facing was 
stitched. Then turn, and baste it firmly and stitch on the 
edge to hold it flat. This piece is basted in place on the 
under side of the left front portion with the edge of the 
piece just a trifle under the edge of the front. (See Fig. 
302-A.) The lining of this piece is placed next to the ma- 
terial. The buttonholes may be worked in this fly piece now 
or after it is stitched in place and are worked from the cloth 
side, the first one to come just below waist band. A row of 
stitching one-fourth of an inch back of the buttonholes and 
through both outside and fly piece will hold it in place 
against the facing of the left front portion. Overcast the 
raw edges at the inside. 

Cut two more fly facings, one of lining and one of the 
material and sew together at the outer or rounded edge. 
Place the right side of the material to the right side of the 
right front portion, sewing the curved edge of the cloth 
only to the pants. Press the seam open and turn in a nar- 
row edge of the lining and baste down over this pressed 
open cloth seam, and make a row of stitching on the front 
portion close to the seam which will hold the facing in place. 

Page Eight 



There should also be a row of stitching on the other edge 
of this extension fly piece to hold it and its facing together. 
Buttons are sewed on this piece to correspond with the but- 
tonholes in the fly. 

If the trousers do not open in front but on the sides, 
join the body seam of the two back portions, also of the two 
front portions, then 
add the side pock- 
ets, if any. The 
pockets are cut 
from drilling or 
other strong lining 
material. One edge 
is to be faced with 
the material on the 
inside of the pock- 
et ; the other edge is 
to be faced on both 
sides (one width of 
material folded 
over the pocket 
edge will serve the purpose) 




FIs. 303. 

On this edge, if desired, a 



buttonhole may be made to fasten it to the underlap of the 
back portion. (See Fig. 303.) Attach the edge with the 
single facing to the side of the front by first basting and 
stitching it against the right side, then turning it over to the 
wrong side, and stitching it close to the edge. Next turn 
in the lower edge, fold the pocket over and stitch the lower 
edges together. (See Fig. 303.) Baste the top of the 
pocket flatly to position. 

The band across the top is made of a double width of 
drilling on the lengthwise of material. Fold it lengthwise 
through the center placing the double edges toward the top. 
One fold is for buttonholes. When the buttonholes are 
made on one side or fold, stitch the folds together in a line 
rising in a curve almost to the top between the buttonholes. 
(See Fig. 303.) It is now ready to be attached. Lay it 
against the right side of the garment, and stitch. Turn 
the band over to the wrong side and add another stitching 
across the top and one across the bottom. (See Fig. 303.) 
Finally, make a buttonhole through each end. 

Page Nine 



In a similar manner add a buttonhole band to the back 
portions after underfacing the underlap extensions. Join 
the front and back, joining outside seams of 
the legs first then inside seams. Turn the 
bottom of each leg into a hem, into which 
run an elastic if made knickerbocker style. 

Frequently the seam that joins the two 
back portions also the seam of the two front 
portions are pressed open and covered with 
a tape or a bias strip of lining basted flat 
on the open seam and stitched from the out- 
side to form a stay. (See Fig. 304.) 




Fig. 804. 



BOY'S RUSSIAN SUIT. 



The Russian suit consists of a coat or jacket, fastened 
at either the right or left front, and knickerbockers. The 
fronts and back are drafted according to instructions for 
children's drafting. An allowance of one and one-half 
inches for a hem must be made on the left front. The 
knickerbockers are drafted the same as the drafting for 
knee trousers, except they are made a little longer to blouse 
at the knee when drawn up on a rubber or put into a band. 

In using new woolen goods the material must always 
be sponged and pressed carefully before it is used. Little 
suits of this character are often made of wash materials 
also such as linen, pique, chambray, percale, galatea, and 
even gingham for summer wear. 

The model used for an ex- 
ample is illustrated in Fig. 
305. To make and insert the 
pocket in the left front baste 
a piece of the material three 
inches deep and one inch 
wider than the pocket open- 
ing to the right side of the 
coat over the pocket open- 
ing. It is stitched, cut and 
pushed through to the wrong 
side, like the facing of the 
back pocket in boy's trousers. 




Ffgr. 305. 



of stout lining. 
Page Ten 



Two pocket pieces are cut 
The lower piece should be about four 



and one-half inches long and the upper one five inches 
long. Both pieces should be one inch wider than the 
opening. They are slipped under the facings, basted and 
stitched from the right side. (See Fig. 306.) The raw 
edges of the facings are turned under and stitched to the 
pocket pieces. The upper pocket piece is then turned down 
over the lower and basted and stitched to it around its three 
open edges. The raw edge may be bound or overcast. 

Turn under the one and 
- V one-half inch hem on the left 
front and stitch. The right 
front should be underfaced 
with a strip of strong cotton 
material about one inch wide. 
This finishes the edge and also 
serves as a stay for the but- 
tons. Sew the trimming band 
flat to the left front with 
their edges even, having pre- 
viously turned under the 
edges of the band. Stitch it 
to the blouse with a single 
row of stitching an eighth of 
an inch from the edge of the 
^ band. 

Join the shoulder and 
under-arm seams, and after fitting stitch the seams and 
finish them in a flat fell seam. Make the standing collar 
band of two thicknesses of the material, seamed first on 
the wrong side and then turned right side out. Sew one 
edge of the band to the blouse so that the seam comes on the 
outside. Turn in the other edge and baste and stitch it 
over the first seam and along the ends and upper edge. The 
collar itself hooks while the blouse is fastened with but- 
tons and buttonholes. Fasten narrow straps made of two 
thicknesses of material to the side seams just below the 
waistline. A leather belt or one made of the material 
may be used. If the latter, it should be about one and 
one-half inches wide and should be made of double thick- 
ness of the goods. The bottom edge of the blouse is 

Page Eleven 




turned in a two-inch hem and stitched. Allowance for 
this hem must be made when cutting. 

The sleeve is made with a little fullness at the top 
and bottom which may be either plaited or gathered. 
Face the lower edge then close the inside seam and insert 
sleeve in the armhole. Bind the armholes with a narrow 
bias facing. 

After taking up the darts, if any, in the back portions of 
the knickerbockers, insert the back hip, also the side pockets, 
according to instructions already given. Close the in- 
side leg seams, stitch and press open. Next, close the 
back seam of the trousers from the waist to the bottom 
of the facing. This seam is then pressed open and cov- 
ered with a tape or bias strip a quarter of an inch wide 
when finished. Baste this flat to the open seam and 
stitch it from the outside on each side of the seam. The 
raw edges of the seam are whipped. A strong stay stitch 
or overcast bar should be worked at the top and bottom 
of the opening and also at the lower part of the side pockets 
to prevent their tearing down. The tops are finished the 
same as the knee trousers. Turn under the bottom of each 
leg an inch for a hem-casing, through which run an elastic, 
and the suit is finished. 

NORFOLK JACKET. 

In making a Norfolk suit the method is very similar 

to the Russian blouse suit. The knickerbockers are made 

just the same. The jacket, illustrated in Fig. 307, is made 

with a seam running to the shoulder in both 

the front and back portions; the simulated 

box plait is afterward applied directly 

over these seams and covering them. The 

pockets are made and inserted the same as 

the back hip pocket in the trousers. The 

fronts are faced with canvas from the 

shoulder. The upper corner or lapels of the 

fronts are to have the canvas and cloth held 

together with padding stitches, as given 

After* joining all the seams press them 




Bb 



Fig. 307. 

in Lesson 12 
open. 

The rolled collar is drafted and finished exactly ac- 
cording to instructions for drafting the rolled turn-over 

Page Twelve 



collar in Lesson 12. Cut canvas interlining for the box 
plaits as wide as desired, and the outside material three- 
fourths of an inch wider on each edge than the interlining. 
Turn over this three-fourths of an inch, baste it, then 
stitch three-eighths of an inch from each edge. It is bet- 
ter to stitch the plaits separately and slip-stitch them to 
the jacket. Interline the belt with canvas and hem a lining 
to the turned-over cloth. 

Apply the collar to the jacket as previously described 
in Lesson 12. Cut a facing for the collar and baste it 
on. Also cut the front and back linings like the cloth 
fronts and back and attach to coat, leaving one-half inch 
plait down the center of the lining in the back. Finish 
the same as given in instructions for ladies' coats. 



MUSLIN UNDERWEAR.— (Feminine). 
The making of underwear should be considered quite 
as important as the outside garments, for upon the fit of 
the under garments depends largely the fit of the outer 
ones. A great amount of time may be put in on the mak- 
ing of underwear, as the amount of handiwork is unlim- 
ited, the finish often being made entirely by hand, yet much 
fine and beautiful work may be done on the machine, and 
it is a great time saver. Much care should be exercised 
to have the tension drawn evenly on both the upper and 
lower threads; also to use just the right size needle and 
thread. One should not expect to obtain good results using 
the same needle and number of thread on all materials. 
No. 80 cotton is the best for white, except on very fine 
material, when 100 may be used for hems and tucks and 
all outside stitching. Every make of machine is accom- 
panied by a table of the size of needles that should be used 
with the different kinds of thread, and it is wise to follow 
these directions. Leave no raw edges on muslin under- 
wear of any kind. Either use the French or felled seam. 
The latter is made by placing the edges together and 
stitching a three-eighths of an inch seam; then one seam 
edge is trimmed close to the stitching and the other edge 
is turned in and stitched down over the trimmed edge, 
making a perfectly flat joining. 

Page Thirteen 



DRAFTING A PLAIN DRAWER PATTERN. 
For a 24-inch waist measure draw a parallelogram on 
a folded piece of paper whose ends will each be twenty-two 
inches and sides twenty-nine inches and number them re- 

B LI N t 1 




Fig. 325. 

spectively, Lines 1, 2, 3 and 4. (See Fig. 325.) Let Line 
4 come on the fold. A is made four inches from the top of 
Line 4 and B is made nine inches from the junction of 
Lines 1 and 4. C is made eighteen inches from top of Line 
2, and D is four and one-half inches from junction of Lines 
2 and 3. E is three inches below B. (See Fig. 325.) 

Page Fourteen 



Draw Line 5 from A to B by placing A on square on 
A on draft and letting edge of square touch B; also draw 
Line 6 from A to E by moving square down so that A will 
fall on A and edge of square touch E. Draw Lines 7 and 

8 straight from B and E respectively to C. Draw Line 

9 from C to D by placing C on square on D and letting edge 
of square touch C. (See Fig. 325.) 

Cut along Lines 5, 7, 9 and 3. Trace Lines 6 and 8. 
Remove the draft and unfold the sheet of paper and cut 
along the traced lines. This gives the pattern complete and 
makes a medium sized pair of umbrella drawers. From A 
to E is the front top of drawers and from A to B the back 
top. Two sections must be cut from the material, having 
Line 4 on the straight of the material. Allow plenty for 
seams when cutting. 

If the edges along 
Lines 7 and 8 are to 
be faced it must be 
done before joining 
any seam edges, either 
with a bias i^rip of 
the muslin or a fitted 
piece cut by the pat- 
tern. After stitching 
the facings, join the 
seams from the top 
down to end of fac- 
ings, then join the two 
leg portions in one fis. sac. 

continuous seam. When making drawers use the 
French seam to join the edges of each leg portion 
and also to join these portions together in the seam 
that extends from the front band to the back or Lines 7 
and 8. In open drawers this seam is not joined, but each 
portion is faced along this edge with a bias strip of the 
same material. (See Fig. 326.) This strip may also be cut 
to fit the portion. Stitch the facing to each leg portion or 
along Lines 7 and 8 from B to C and from C up to E. 
Turn in the other edge of the facing and hem it to the inside 
of the garment. If the leg portions are to be ornamented 
with tucks, allow for the tucks when cutting and tuck the 

Page Fifteen 




portions before stitching the seams. Hem the bottom, how- 
ever, after the seams are stitched. A gathered ruffle of 
either the material or embroidery makes a pretty finish and 
should be inset in the hem, which is cut through its folded 
edge for this purpose. Sew the ruffle to the lower edge 
of the hem and baste down over the seam and stitch. If no 
hem has been allowed sew the ruffle to the edge of the 
drawers so that the seam will come on the inside, and then 
face it on the inside with a strip of the material about one 
and one-half inches wide. Baste one edge of the facing in 
the same seam as the ruffle and stitch. Turn in the other 
edge and stitch down to the drawers. 

When insertion, either of lace or embroidery, is used, 
baste it in position with a row of basting on each edge and 



Fig. 328. 
Figf. 327. Method of Applying Insertion 

Method of Applying Lnce Insertion. Above a Hem. 

then stitch on each edge also; cut the material underneath 
through the center and turn each of the edges back and 
crease to hold it fiat. Cut away to leave only enough for 
a tiny hem turned back from each row of stitching and 
then stitch. (See Fig. 327.) 

Frequently these cut edges are not hemmed under- 
neath but turned back a trifle beyond first row and stitched 
down, then, the edges are trimmed closely and evenly along 
the stitching leaving just enough to hold it securely. When 
insertion is inserted just above the hem it is done as shown 
in Fig. 328. The insertion is stitched on as shown in Fig. 
327 and then a facing is applied over the lower part with 
its edges turned under a seam's width. The upper edge 
above the insertion is finished as described for Fig. 327. 

Page Sixteen 



To make a band for the drawers, take one-half of the 
length of the waist measure and add one inch to it and draw 
a rectangle whose top and bottom will each be this length 
and whose sides will each be six inches, and number these 
Lines 1, 2, 3 and 4. (See Fig. 329.) Make A on Line 1 
one and one-half inches from the junction of Lines 1 and 4. 
Make B two and one-half inches from the top of Line 2 and 
make C at the junction of Lines 2 and 3. Make D three 
inches from the top of Line 4 and connect A and D, also C 
and D, with straight lines. Draw a curve from A to B by 
placing A on B and letting edge of square touch A. 







LINE 1 


m 








^^ 


( 

CM 


B . 




3 


bJ 

1 


C^,^ 


--'"LJNE 3 


.^^^ — 



n 
-1^ 



Fig. 329. 



When cutting, place Line 2 from B to C on a straight 
fold of the goods. Two bands should be cut from the 
draft for each pair of drawers. The top of the drawers is 
gathered and put into this band. If a wider or narrower 
band is desired, make the rectangle either wider or nar- 
rower. For closed drawers a placket on the one or both 
sides will have to be cut. Cut it seven or eight inches 
long and finish it by sewing a straight strip of facing the 
entire length of the placket and face one side down as a 
faced hem and leave the other out as a fly. This is done, 
of course, before the band is put on. 

DRAFTING A CIRCULAR DRAWER PATTERN. 

For a 24-inch waist measure draw a parallelogram 

on a folded piece of paper whose sides will each be 29 

inches and ends 22 inches and number them respectively 

Lines 1, 2, 3 and 4. (See Fig. 330.) Let Line 1 come on 

Page Seventeen 



Km^^^ ^ 




Flgr. 330. 



the fold. A is made 
four inches from 
top of Line 1 and 
B is five inches and 
C nine inches from 
junction of Lines 1 
and 2. D is five 
inches below C. E 
is six inches from 
bottom of Line 3 
and F is eight and 
one-half inches 
above E. G is two 
and one-half inches 
to the left of F. 
Draw a curve from 
A to B by placing 
A on square on A 
on draft and letting 
edge of square 
touch B. Also one from A to D by placing A on square on 
A on draft and letting edge of square touch D. From the 
junction of Lines 1 and 4 draw a curve to E by placing A 
Curve on E and letting edge of square extend toward junc- 
tion of these lines and a slight curve from E to G. Next, 
begin at B and draw a curve to D by placing A Curve on B 
and letting edge of square touch D and continue down to G, 
making the curve at G by the armhole curve. Trace Line 1 
from A to bottom, also the curved line to E. Trace A to B, 
from A to D, from E to G and from G to B. Now, cut along 
these tracings allowing for seams. Unfold the draft and 
cut one side at top from A to D. This represents the 
front waistline, while the line from A to B represents the 
back waistline. Measure to the left of B three inches along 
waistline and make dot H. This gives the point to make the 
folded edge of the inverted plait which is used in the back. 
In the front section draw a line from a point about 2 inches 
from A to a point about two inches from E, which must be 
laid on the straight of the material when cutting. (See 
dotted straight line in Fig. 330.) 
Page Eighteen ♦ 



line: I 




Fig. 331. 



Underskirts are cut 
much the same as out- 
side skirts, and to 
avoid the bulky full- 
ness at the waistline 
and over the hips, 
f— yokes are frequently 
~used. The width of 
pi^the yoke is usually 
about five inches. To 
■^ draft a pattern of a 
yoke, take one-third of 
the waist measure and 
add the width of the 
yoke to it and make a 
square whose ends and sides will each be this measure and 
number the Lines 1, 2, 3 and 4. (See Fig. 331.) Make dot 
A on Line 1 five inches from the junction of Lines 1 and 
4 and make dot B at the junction of these lines. Make dot 
C on Line 2 five inches from the bottom, and make dot D 
at the junction of Lines 2 and 3. Draw deep curves from 
C to A and from D to B. (See Fig. 331.) 

When cutting the material, lay Line 2 from C to D 
on a straight fold of the goods and when making, dot D 
is placed in the center of the top of the skirt. Two yokes 
should be cut for each skirt. Tucks and insertion and 
ruffles of lace or embroidery make a good finish. Allow 
for the tucks when cutting. 

The same pattern for the front of a wrapper will apply 
equally as well to cutting the front of a night gown, except 
that night gowns do not need to be so wide at the bottom 
as a wrapper. The back may be cut by the draft given 
in Lesson 2 by extending the lines the desired length, mak- 
ing the bottom the width of the goods. Cut off the top of 
the front and back any desired depth to obtain a yoke. The 
yoke may be of the same material, of lace, of embroidery, 
or it may be made of tucks and insertion or tucks and 
plain strips. A ruffle either of the material or of em- 
broidery may be used around the yoke. Any mode of 
trimming can be used in the finishing. The sleeves 
are cut flowing or fastened into a band. Night dresses 

Page Nineteen 



may be cut low in the neck, either round or square; 
and finished with beading through which a ribbon or tape 
is run and the fullness drawn up to fit the wearer. Make 
gowns large and roomy, as they shrink in the laundering. 
In fact, all muslin underwear should be made large to allow 
for shrinkage. A chemise is also cut the same as a night 
gown, only no yoke is used, and it is made shorter. The top 
and armholes are pretty finished with beading and ribbon 
drawn through it to regulate the fullness. 

For a tight-fitting corset cover use the draft as given 
in Lesson 2, cutting the side forms in the back separ- 
ately and using the darts in front. Hollow out the 
neck either rounding or 
square, or cut it V-shaped. 
Sleeve caps may be placed 
in the armholes or trimmed 
around with narrow lace or 
embroidery. 

The simple corset cov- 
er that involves little labor 
in the making is the one 
that appeals to the maj- 
ority of women. The one 
illustrated in Fig. 332 is 
just full enough to be 
pretty under the fashion- 
able blouses, and is espec- 
ially designed for embroid- 
ery flouncing. Some make 
them to extend straight 
around the form below the pig. 332. 

arms, but as this is so low it does not afford sufficient 
protection. To allow it to come higher, place the front 
and back drafts on the embroidery and cut out armholes 
large enough to permit the cover to come up well under 
the arms. 

Measure back from the center under-arm at armhole 
one and one-half inches and make a point, then draw a line 
straight down to the bottom from this point. At the bottom 
measure out to the right one and a quarter inches and make 
a point, then draw a line from this point up to the point 

Page Twenty 




made at armhole. Cut out the space between these two lines 
and this will eliminate some of the fullness at the waistline. 
The lower edge of cover is shaped so that it will slope up 
in the back and also in the front, one-half inch on center 
back and one-half inch on center front lines being sufficient 
to take off. It will be a good idea to take a test measure 
at this new under-arm seam to see if draft is long enough 
at this point. Measure draft along the seam, then take a 
measure at same location on patron and compare the two. 
Lengthen draft to correspond to measure taken. 

For a 36-inch bust measure it will require one and 
five-eighths yards of embroidery flouncing sixteen inches 
deep. After cutting, close under-arm seams in a French 
seam. The fullness at the top is adjusted on ribbon run 
through the embroidery. 

The little circular sleeves are pretty and much liked 
by many women, but they can be used or omitted as liked, 
also there is a choice of belt or peplum at the lower edge. 
The corset cover is made in one piece. The right front 
edge is finished with a simulated box-plait and the closing 
can be made invisible by means of buttonholes and a flap 
or with buttons or buttonholes worked through the center 
of the hem as liked. The upper edge is finished with 
beading which regulates the size, and the lower edge is 
gathered and joined either to the narrow belt or to the 
peplum. This last can be used or omitted as liked, but has 
the great advantage of keeping the corset cover perfectly in 
place without bulk over the hips. 

The bust supporter or 
brassiere is especially practical 
under shirt waists, unlined 
blouses, with tea gowns and long 
negligee garments. The bras- 
siere is a positive necessity for 
a full bust and fleshy forms, for 
it gives support jusr where it is 
most needed and where the best 
cut corset often requires rein- 
forcement. As the garment is 
tight fitting, there is consider- 
able strain on the material, and j,,^ 333 

Page Twenty-One 




goods sufficiently strong should be selected, such as coutille, 
linen or any similar durable material. Embroidered flounc- 
ing such as shown in Fig. 333 may be used — the scalloped 
edge making a pretty finish for both upper and lower edges, 
and renders the making very simple. The fronts are drawn 
very snugly to the figure and laid in upturning plaits at the 
fronts and when the edges are straightened they are finished 
with a band of insertion edged with lace, beneath which the 
closing is made. The quantity of material required for the 
medium size is two and one-half yards of embroidery, nine 
inches wide with one-fourth yard of insertion and a yard 
and a half of lace for front band and sleeves. 

To draft the pattern, outline a front and back ac- 
/"-.^ ,^ cording to instructions 

given in Lesson 2, us- 
ing a curved line drawn 
from neck curve to 
waistline as illus- 
trated in Fig. 334. 
Extend the bust line 
until it touches this 
line. Draw a line 
from the intersection 
of these lines to a 
point one and one-half 
inches from on 
shoulder line. Draw 
a line from a point one inch below the point where armhole 
curve touches Line 11 to a point one and one-half inches be- 
low G and extend it on to the new line. Measure up two 
inches from ff and one and one-half inches from left end of 
waistline and draw a line connecting these points. The 
solid lines in Fig. 334 in front represent the cutting lines 
for the brassiere. 

On the back draft draw a line from a point one and 
one-half inches from M on shoulder line to a point one and 
one-half inches above D. From the point where armhole 
curve touches Line 4 draw a line to D. Measure up from 
ee two inches and from aa two and one-half inches and draw 
a line connecting these points. Make this line about five 
inches in length by re-drawing the under-arm line to a 

Page Twenty-Two 




Fig. 334. 



point one and three-fourths inches from left end, and the 
center back line to a point one and one-fourth inches from 
right end of line. (See Fig/ 334.) The length of the line 
will vary, of course, in different measures. The solid lines 
in Fig. 334 in the back represent the cutting lines for the 
brassiere. 

Cut the front and back portions out, turning the top 
edge of the lower parts under and join to the narrow 
upper parts, as shown in the illustration. Sew up the back 
and under-arm seams, then try on, and, drawing close to 
the figure, lay the three up-turning plaits at the front 
edges. 

Another method of making a corset cover is to make 
it without seams. Use the same draft as given in Lesson 
2, omitting the side forms in the back and instead of using 
the darts, take off in front or on Line 8 from G to Line 13 
one half the quantity usually used in the darts, and the other 
half from the under-arm seam from K to Line 25. That is, 
begin at dot G and slant to Line 13 one-half the quantity 
or width of darts, and begin at dot K and slant to Line 25 the 
other half of the dart's width. In the back make aa one inch 
from F, and ee two inches from Z. Cut the front 
out and place the under-arm line on Line 22 of the 
back and pin together. Place the center of the back on a 
straight fold of the goods, allowing for fullness if desired. 
The front will come out bias. Hollow out the neck the de- 
sired depth. Finish with a peplum around the bottom and 
with beading and ribbon at the top or neck. 

To draft a combination suit, draft a front and back 
as given in Lesson 2 except that you do not need the curved 
forms in the back. Draft the drawers as if they were to be 
made separately, except they should be drafted a little 
longer on Lines 4, 7 and 8 (Fig. 325), to take the place of 
the band or yoke. Unfold the drawers draft and join the 
front to the front of the waist, having Line 4 in the drawers 
meet Line 23 in the front of the waist and Line 7 in the 
drawers meet Line 19 in the back. 

The front of the drawers will probably extend several 
inches beyond the front of the waist, as represented by 
dotted line. (Fig. 335.) If the suit is to be made with 
darts, cut on solid front line and extend the darts down 

Page Twenty-Three 



into the front of the drawers from the waist. If fullness 
instead of darts is desired, retain the full width of the 
drawers, extending the same amount up even with the 
neck. (See dotted line.) When joining the under-arm 
seams take up a dart one inch in width and about three 
inches deep in the drawer portion so that it will give a 
smooth ending for the seams. 

One clever way of combining garments is to mount 
the petticoat and the corset cover separately on belts of 
ribbon beading, and to thread the two together with one 




Fig. 335. 

ribbon. Then it is easy to separate the garments for 
laundrying. Otherwise, corset cover and petticoat may be 
sewed to the same belt, or finished separately. Other com- 
binations are corset cover and knickerbockers, or drawers, 
and corset cover, petticoat and knickerbockers. When 
drafting for knickerbockers an allowance must be made at 

Page Twenty-Four 



the bottom of the leg portions which are gathered and in- 
serted into a band. 

Long cloth and cambric are the favorite materials for 
making underwear. Persian lawn and dimity is sometimes 
chosen when very fine material is desired. Lace and em- 
broidery are used to an equal extent for trimming, and 
sometimes seam beading is used at every seam. 

When making the last named combination the body 
edges of the knickerbockers must first be underfaced, as in 
Fig. 326. Gather the lower edges of the leg portions. If 
embroidered insertion or beading for the leg band is used, 
sew it to the gathered edge in a French seam. The edge 
of the bands should be seamed first and the lower edge 
should be turned into a tiny hem. If lace insertion is 
used for the leg bands it will be necessary to bind the 
gathered lower edge of the leg in a narrow straight width, 
and then to whip the insertion to the bound edge. In bind- 
ing the edge lay the straight width against it, right sides 
together, and pin them to assist in distributing the gathers 
evenly. When they are stitched, turn under the free edge 
of the strip, then fold it over to the wrong side and fell 
it over the seam. (See Fig. 342.) 

Instead of either lace or embroidery a plain band may 
be used which should be cut on the straight of the ma- 
terial. 

Next, seam up the petticoat, leaving an opening for 
the placket, and finish it with a long continuous strip cut 
lengthwise of the material. Baste this strip along the 
placket edges, placing the right sides together; and when 
it is stitched fold it back so it will form an extension, then 
turn under the free edge and fell it over the seam on the 
wrong side. This extension should form an underlap on 

one side and should be folded 
under on the other side. Fin- 
ish the skirt around the bot- 
tom any way desired. 

Now, baste the upper edges 
of the skirt and knicker- 
bockers together. Pin the 
front edges of the knick- 
erbockers to the center 




Fig. 336. 



Page Twenty-Five 



front of the petticoat and pin the corresponding 
back edges together. Baste, holding the petticoat on the 
under side, so that the top of the knickerbockers may be 
eased in, for it may be slightly larger. Draft a yoke pattern 
as illustrated in Fig. 330, and underface its ends. Next, 
underface the upper edge of the yoke, stitching the under- 
facing at both edges and leaving the ends open for a tape 
to be inserted. (See Fig. 336.) 

Baste the petticoat and knickerbockers to the bottom 
of the yoke, first pinning them together, and holding the 
yoke on the under side. This seam may be either a flat,, 
or French seam, or they may be joined with seam bead- 
ing. If preferred, two yokes may be used, one faced right 
over the other after all joinings are made. The top of 
yoke is joined to corset cover after any method above de- 
scribed. 

DRAFTING A COMBINATION SUIT WITH TOP AND 
LOWER PORTIONS IN ONE PIECE. 
To draft a pattern like illustration shown in Fig. 337, 
first draft a plain front and back, using only one 
dart in front and omitting the divisions in the back. (See 
Fig. 338.) Make the top of this dart four inches from 
Line 8, and let its center on waistline 
come at a point straight down from its 
top. Its width should be about one and 
one-half inches. Cut the draft low in 
the neck, as illustrated by the solid 
curved lines, if no fullness at top is de- 
sired. The drawer portions in the back 
must be a little longer than in front; 
therefore it is necessary to lower the 
left end of waistline in front two inches. 
The dart, being its widest on this line, 
will lower the front to correct position 
when basted. 

Extend the under-arm line straight 
down from the armhole until it is 
twenty-four inches long below the waist- 
line. Measure down three and one-half 
inches on the line from waistline and 
make a dot. Measure to the right of 




Pig. 337. 



Page Twenty- Six 



this dot one-half inch and make another dot; then draw a 
curved line from this dot to ff, placing C Curve on square 
on ff. Continue the line on down until its entire length is 
twenty-four inches, by placing corner of square on a point 
half-way between ff and dotted under-arm line. Draw a 




Flgr. 338. 

line from ee through the dot on dotted line and continue it 
until it is twenty-four inches in length. 

Now measure from the right end of waistline at back 
and draw a line seven inches long; also measure from the 
left of waistline in front and draw a line seven inches 
long. Draw lines straight down from the end of both 
these lines, making them each twenty-four inches in 

Page Twenty-Seven 




length. (See dotted lines in Fig. 338.) Measure up six 
inches from the bottom of each line and make dots, also 
measure in two inches and make dots and connect these 
dots with straight lines. Draw a line from the center back 
line to the six-inch dot on the dotted line, also draw a curved 
line from Line 8 in front to the six-inch dot on the other 
dotted line. Connect the leg portions at the bottom. (See 
Fig. 338.) Extend the dart in front on down into the top 
portion of drawers about four inches. The dart may or may 
not be used. The draft allows about five in- 
ches on the entire back at waistline for full- 
ness, but it is a good idea to use an inverted 
plait also in the drawer portion so as to give 
ample room. This is gotten by measuring 
out to the right four inches on the dotted 
line from waistline and raising this one-half 
inch and drawing a line from this point to 
the six-inch dot below. 

If fullness is desired at top of corset cover 
in front, measure to the left three inches 
Fig. 339. and make a dot and draw a line from this 
point to waistjine. This will necessitate raising the top 
line a little to keep it from coming too far down. (See dot- 
ted lines in front portion Fig. 338.) 

Trace and cut the front and 
back portions separately, al- 
lowing for seams. When lay- 
ing draft on material to cut, 
lay the center front and cen- 
ter back lines on the straight 
of the material, and allow for 
seams. 

Join under-arm, center 
back and shoulder seams and 
try on. After stitching them, 
add the trimming around the 
neck and armholes. Leave 
the front edges of the suit un- 
finished until after this is 
done, when a continuous 
underfacing must be placed 

Page Twenty-Eight 




Pig. 340. 



along the front edges of corset cover and drawers. Run 
together the necessary amount of insertion, beading 
or lace edging, whatever is used, to go around the neck 
and be turned into hems at the front edges. If inser- 
tion is used with the edging, baste the lower 
edge of the insertion smoothly around the 
neck of the corset cover. Stitch it,' then cut away the 
material from underneath it, leaving just enough to turn 
into a small hem and stitch 
through to the insertion. (See 
Fig. 340.) For the armhole, 
sew together enough beading 
and edging, or use the edging 
alone. The edging should be 
eased on to avoid its pulling or 
drawing when the corset cover 
is worn. The neatest way is to 
baste the edging against the 
right side, as shown in Fig. 341, 
then stitch in with it a narrow 
bias strip which should be 
turned over to the wrong side 
and felled or stitched down as 
an underfacing. It will be 
necessary to clip the seam edges of the armhole to get the 
strip to lie flat when it is turned over to the wrong side. 

Next, make the ruffles for the bottom of the drawers 
and attach them. For these, stitch together the required 
length of insertion and edging, then baste the upper edge 




Fig. 341. 



of the insertion smoothly over the 




Fig. 342. 



bottom of the ruffle, 
trim off the edge 
underneath the 
insertion to 
sufficient depth 
to turn into a 
tiny hem, then 
stitch this 
through with the 
lace. 

Gather the 
upper edge o f 

Page Twenty-Nine 



ruffle and baste it to the lower edge of the drawers, placing 
the right sides of the two together, so that the seam edges 
will come on the wrong side. Trim off the edge of the ruffle, 
(Fig. 342) , turn the other edge over it and baste and stitch 
it. If insertion is used on the ruffle also as shown in Fig. 
339 apply it as shown in Fig. 327. 

After this, join the leg seams, then underface the 
fronts, and open edges of the drawers. Cut a bias width 
long enough to underface the edge of both cover and draw- 
ers. When both edges are finished, if the buttons are not 




LINE / 



Fig. 343. 

wanted visible, make a buttonhole fly for the right edge. 
The fly should extend six or seven inches below the waist- 
line. Run ribbon through the beading around the neck, also 
armhole. It may be used 
on the ruffles, if prefer- 
red. 

DRAFTING ONE- 
PIECE CHILD'S 
DRAWERS. 
For a two-year-old 
child, fold a piece of pa- 
per through the center 
and make a square whose 
sides are each eleven 
inches and number them 
Lines 1, 2, 3, and 4, re- 
spectively. (See Fig. 
344.) Let Line 3 come 
just on the fold of the paper. From the right end of Line 

Page Thirty 




Fig. 344. 



3 measure to the left four and one-half inches and make 
dot A; also measure up three and one-half inches from the 
bottom of Line 2 and make dot B. Connect A and B, using 
the armhole curve on square, by placing the four-inch mark 
in neck curve on A and letting edge of armhole curve touch 
B. Number this Line 5. From the right end of Line 1 
measure to the left three and one-half inches and make dot 
• C. Connect B and C and mark this Line 6. Measure down 
from top of Line 4 one and one-half inches and make dot D. 
Draw a curved line from D to C, usingA on D and edge of 
square touching C. Mark this Line 7. 

Now trace Line 1 from its left extremity to C, also 
Line 7 from D to C. Next trace Line 6 from C to B and 
Line 5 from B to A, then Lines 3 and 4. Cut along Lines 
5 and 6. Unfold paper and cut along the traced Line 7. 

Lay all the entire length of Line 4 on a fold of the 
material (See Fig. 345) and cut to follow all the lines, 
leaving five-eighths of an inch for seams on all the edges. 
Remove draft and fold drawers on Line 3. The entire 
length of Line 7 represents the front top of drawers and 
Line 1 the back top. Lines 5 represent the opening for 
the legs, while Lines 6 are seamed together, leaving open- 

<i3 QQ 



Ni. 





1 








1 








S 


I UNE i^ 




L 


LINE f 








Fig. 345. 

ing at the top for little plackets, which are finished with 
a continuous facing. Gather front and back along upper 
edges. Sew one edge of the waist band to drawers, turn- 
ing lap at back underneath, and fell other edge of band 
over the seam. 



Page Thirty-One 



Lap back band over front the width of lap and close 
with buttons and buttonholes. Trim with edging and bead- 
ing. 

To draft a pair of drawers for a child, take two 
measures, the waist measure and a side measure from the 
waistline over the hips to the knees. Make Line 1 the 
length of one-third the waist measure plus two and one-half 
inches. (Fig. 325.) Make Line 2 the length of outside 
measure plus one and one-half inches. Line 3 is drawn the 
same length as Line 1 and Line 4 the same length as Line 2. 
Measure down from top of Line 4 one and one-half inches 
and make A. From the junction of Lines 1 and 4 measure 
out to the right on Line 1 the length of one-third the waist 
measure plus one inch and make B. From the ie^^f Line 
2 measure jjewn the length of one-half of outside measure 

kj^ minus one inch and make C. From the junction of Lines 3 

C and 4 measure to the right one-fourth of waist measure plus 

one inch and make D. Measure one and one-half inches 
below B and make E. Draw Lines 5 and 6 from A to B and 
E respectively in the same manner as they were drawn in 
Fig. 325. Also draw Lines 7 and 8 respectively from B and 
E to C. Draw Line 9 from C to D by placing A on square 
on C and letting edge of square touch D. 

QUESTIONS. 

1. Explain fully how the plain drawers are drafted and made. 

2. How are open drawers finished? 

3. Explain the different methods of applying insertion. 

4. (a) How are the plackets or openings for the closed drawers 
finished? (b) How is a yoke for underskirt drafted? 

5. (a) How is a tight fitting corset cover drafted? (b) An em- 
broidery cover? 

6. What changes are made in the front and back drafts to cut a 
brassiere or bust supporter? 

7. How is a seamless corset cover draft made? 

8. (a) Explain the method of drafting and cutting a combination 
suit seamed together at the waistline, (b) In what other way may 
they be joined together? 

9. (a) How are the leg portions of the drawers or knickerbockers 
finished? (b) How is the petticoat finished? 

10. Describe the method of joining the knickerbockers and petti- 
coat together. 

11. After the drafting, explain the method of making a combina- 
tion suit with upper and lower portions in one piece. 

12. (a) How is the ruffle made and attached to the bottom of the 
drawers? (b) How are the fronts finished? 

13. Explain how a one-piece child's drawers is drafted. 

14. How are children's plain drawers drafted? 

Page Thirty-Two 



THE 

AMERICAN SYSTEM 

OF DRESSMAKING 



A Course of 

Instruction by Mail 

in the 

Science and Art 

of 

Successful 

Dressmaking 

And Ladies' Tailoring 



Lesson No. 18 



The American College of Dressmaking 

(Associated Training Schools, Proprietors. ) 

KANSAS CITY, MO., U. S. A. 



Copyrighted 1906, 1907, 1908 and 1909 
by J. M. Stelle 

Copyrighted 1910 and 1911 
h^ Associated Training Schools 



Jill rights reserved. 



'Printed in the United States. 



American ^p^ttnt 
^ 2Dre00mafetng 

TAUGHT ONLY BY THE 

Slmerican College of Bressmalting 
Kansas Cttp, JWo. 

Miss Pearl Merwin, Supervisor. 

Lesson No. 18 

DRAFTING AN ETON COAT WITH A SAILOR COLLAR. 

Use the same measures as given for the semi-fitting 
coat with the exception of the waist measure, to which 
add only four inches instead of five, thus making this 
measure twenty-eight inches. 

Follow instructions for drafting the semi-fitting coat 
exactly with this exception: Make K midway between H 
and J and draw under-arm line from it. Make gg four 
inches from Line 13. In the collar points ee, ff, hh and ii 
are also obtained in the same manner. To draw the break- 
line or Line 25, place corner of square on P and let straight 
edge of long arm touch junction of Lines 10 and neck curve 
and draw the line from neck curve to touch Line 24. Place 
jj at the quarter-inch mark to the left of P. (See Fig. 
346.) Squaring on the line from ee to ii at ii, measure to 
the left about three inches and make a dot, then raise this 
dot a quarter of an inch, then draw Line 26 from ii through 
the raised dot an indefinite length. Make kk one and one- 
half inches from ii on Line 26. From kk measure to the 
left on Line 26 six inches in this case and make LL. The 
length of Line 26 between kk and LL depends on width 
of collar desired. 

Squaring on Line 26 at LL draw Line 27, making it one- 
Page Three 




Fig. 346, 
Eton Coat Draft, illustratiug the bailor Collar. 

half the width of back measure or in this case six and 
three-quarter inches. Place mm at its left or lower extrem- 
ity. Squaring on Line 27 at mm draw Line 28 making it 
four or five inches long. Placing corner of square on P, 
adjust the square so that it will touch Line 28 at the front 
shoulder length mark. In this draft the front shoulder 
measures five and one-quarter inches; therefore place cor- 
ner of square on jj and adjust square so that the five and 
a quarter inch mark will touch Line 28 and make nn at this 
point. (See Fig. 346.) Place A on square on jj and let 
edge of square touch nn and draw Line 29 from jj to nn. 

Next, squaring on Line 25 at P make oo at the point 
where square touches armhole curve. Continue the shoulder 
line to the left of jj until its length is the same as from 

Page Four 



P to 0, then raise it onei-half inch less than the distance 
from O to 00 and make pp at this point. (See Fig. 346.) 
Placing A Curve on pp and letting armhole curve touch jj 
draw Line 30 from jj to pp. Placing A Curve on hh and 
letting edge of square touch pp continue Line 24 from hh 
to pp. Place A Curve on kk and let edge of armhole curve 
touch jj and also junction of Lines 10 and 25 and draw a 
line from kk through jj to the junction of those lines. (See 
Fig. 346.) This completes the drafting part of the coat. 
The different sections are traced, cut and joined according 
to instructions already given in Lesson 12. To trace the 
collar, which will be in four pieces when completed — a 
seam over each shoulder and one at center back — first trace 
on to another piece of paper Line 28 from mm to nn, then 
Line 29 to ee through jj and P and on up to ii, then Line 
26 to LL and Line 27 to mm, then the break-line from kk 
to jj. Remove the under piece of paper and cut along the 
traced lines. 

Now lay the draft back on to another piece of paper and 
trace the other collar section by first tracing the neck curve 
from hh to ee through ff, then Line 30 from ee to pp and 
Line 24 from pp to hh, then the break-line from jj to neck 
curve. Remove the under piece of paper and cut along the 
traced lines. It will be a good idea to notch Line 26 with 
one notch as it is the center back line and will be seamed 
to its corresponding piece of the canvas and material; also 
notch Line 29 with two notches and Line 30 with two 
notches as these two edges will be seamed together. 

The fronts and side fronts are cut from shrunken 
canvas the same as the semi-fitting coat, also the pieces 
around the armholes and neck in the back. The haircloth 
pad and any other padding are applied in the same man- 
ner and the same process of fitting, pressing, lining, etc. 
is employed as in the other coats. The most important 
feature of this coat is its collar, as it is quite necessary and 
essential that it be cut on the correct grain of the canvas 
as well as the material in order to make it set properly over 
the shoulders. Its construction is quite different from the 
ordinary sailor collar in that it is made in four sections as 
before stated with a seam over each shoulder and down the 
center back. The placing of these seams causes the collar 

Page Five 



to follow the curve of the coat gracefully and insures its 
fitting well about the back. 

Cut these collar sections from the double canvas, laying 
the pattern so that the center back line will come on the 
true bias, also see to it that the other section of collar is 
laid so that its outside lines will come on the bias — ^not 
necessarily the true bias but enough so that the edges can 
be stretched, shrunken and pressed into shape, as much 
depends upon the shrinking and pressing. After cutting 
join the center back seam, also the shoulder seams; that is, 
join the two edges that are each marked with one notch, 
and the two edges that are each marked with two notches 
and press the seams open. 

Now cut the material for the under part of collar from 
the same collar sections as the canvas was cut, but cut them 
a seam larger on all the outer edges, then join the seams 
and press open. Baste the canvas lining to the wrong side 
of collar and then catch the two together with padding 
stitches on the stand part of the collar. Markstitch the 
break-line which was traced on the canvas sections. 

The next step is to shape the outer edges of the collar 
and the roll part. The edges of the different pieces being 
cut on the bias are easily stretched and shaped. Dampen 
them with a wet cloth, then press, pulling and stretching 
into the desired shape as the pressing is being done. 

Turn over the outer edges of the collar on the canvas 
and overhand or cat-stitch them down neatly to the can- 
vas and stitch an eighth or half-inch from the edge, or 
whatever depth preferred. Enough will have to be allowed 
on the edges when cutting the material for the under collar 
for this turning over and stitching part. 

The canvas is put in the lapels of the coat and padding 
stitches used to hold it to the material. The edges are taped 
in the usual way. Baste the collar to the neck edge of the 
coat, having the canvas side up but holding the neck edge 
of the coat next to you. Notch the edges of the seam where 
necessary to make them lie smooth around the curve. When 
they are closely basted, try on to see if it sets all right, then 
remove, stitch and press the seam open. 

The upper or outside part of the collar may be cut in 

Page Six 




the same way as the lower part with the three seams, or it 
may be cut without the center back seam, using only the 
shoulder seams, or it may be cut in one piece entirely. Fre- 
quently this outside facing for the collar and 
lapels is cut in one piece which forms the 
shawl collar effect in front as shown in Fig. 
347. Even in this though, it is a good idea 
to use the shoulder seams as this will insure 
a perfect fit. The center back seam is then 
omitted. In many cases this facing is of 
silk or satin as shown in Figs. 347 and 348, 
and is not applied until after the lining is in ^*^- ^^''• 
the coat. The facing is then basted to the lapels and collar 
and then all the edges turned under and overhanded down 
with almost invisible stitches. 

The sleeves are usually made three- 
quarter length, with the turned-back circu- 
lar cuff which is illustrated in Fig. 126, 
Lesson 6. 

Frequently the Eton coat is made with- 
out the sailor collar and lapels as shown in 
Fig. 349 in which event cut coat on the 
break-line or Line 25 and do not draft the 
collar. Do not draw Line 25 so far down 
Fig. 348. -j^ ^Yiis case as in Fig. 346, but to a point 
about three inches below the bust line. The same process 
of making and fitting, etc., is used as in the other and the 
flat facing or braid around the neck and 
other edges is put on before the lining is at- 
tached. The Sailor collar shown in Fig. 348 
would have to be put on a coat cut like this 
in order to have the front edges of collar 
free, otherwise they would be sewed to the 
top of the lapel which makes the shawl 
collar. 

The draft illustrated in Fig. 346 may be 
made into two different divisions. By laying 
the center back line on the selvage of the material and cut- 
ting the other sections apart will make an eight-piece Eton. 
By laying the same line on a fold will make a seven-piece 
Eton. 





Fig. 349. 



Page Seven 



To draft a round collar as shown in Fig. 350 draw a' 
curved line from nn through pp to a point three-eighths of 
an inch below LL on Line 26, by placing A Curve on pp 
and letting edge of armhole curve touch nn. Then readjust 
end of square so that it will touch Line 26 
three-eighths of an inch below LL and con- 
tinue the line to this point from pp. (See 
dotted line in Fig. 346.) Then, when trac- 
ing the back section of collar trace Line 29 
from nn to ee through P, up to ii. Line 26 to 
the three-eighths-inch mark, and the dotted 
line to nn. The other section is cut the same 
as before. This collar has the same seams ^^'s-. aso. 
in the canvas and underpart as the Sailor collar, but the 
upper part may be left whole or shoulder seams used. 

To draft a pattern with no under-arm seam, draft the 





Plgr. 351. 
Eaton Coat Draft, Illustrating; the Shawl Collar. 



Page Eight 



3ame as given for Fig. 346 with this exception. Make X 
one inch from F ; do not draw an under-arm line, but meas- 
ure straight down from K the length of under-arm measure 
and make a dot and mark it bb. (See Fig. 351.) When 
testing the waist measure to get cc, measure Line 13, then 
from bb to aa and from Y to X and continue as before. In 
this draft we have used the shawl collar which is added 
similar to instructions given in Lesson 12 for adding the 
shawl collar. 

When cutting lay the center back line on a fold, which 
will give the back as shown in Fig. 352. If preferred, the 
same kind of collar may be used as is shown m tuat Figure 
also. It is simply shaped a little differently on Lines 27 
and 28. 

To make a draft with no side back seams as shown 
in Fig. 353 and no side front seams as shown in Fig. 347, 
use the draft shown in Fig. 346, but make 
X one inch from F, and bb one inch from 
lower end of under-arm line and omit Y and 
aa and do not draw the lines up to shoulder in 
the back. In the front leave cc as it is, but 
take off an inch on the left end of Line 13 at 
Line 8 by making a dot in one inch from 
Line 8, then place A Curve on G and let arm- 
hole curve touch the inch dot and draw a 
line from G to this dot. This will make gg *''®' 
one inch closer in also from which to draw Line 24. 




352. 



Omit the line from U to V, also the line from dd to W 
and draw a waistline from cc to Line 8 through R similar 
to the way it is drawn in a shirtwaist. This 
coat will hang rather loose on account of 
their being no place to fit it only at the center 
back and under-arm seams. 




To make the Kimono Eton coat, use 
Fig. 346 and raise the back shoulder and 
lower the front shoulder lines and extend 
them the desired length as shown in Fig. 104, 
Lesson 5 and continue according to instruc- 
tions given in that lesson for the Kimono waist. 

Page Nine 



Fis. 353. 



THE SACK COAT. 

The sack coat is a rather loose hanging coat with no 
center back or side back or side front seams, therefore the 
only opportunity for fitting is at the under-arm seams. 

Using the same measures as given for the semi-fitting 
coat, outline a back and front according to instructions 
given for semi-fitting coat, until you come to the front 
shoulder line or Line 6. Instead of placing E midway 
between C and D place it midway between B and D and 
then place corner of square on E and let long arm touch 
and draw Line 6 and continue as before. (See Fig. 354.) 
This will lower the front a little which will be necessary in 
order to obviate some of the fullness at the waistline, for 
remember there will be no dart at which to take it out. 

Draw the under-arm line from K as shown in Fig. 355 




Fig. 354. 



Page Ten 



and mark it Line 12, and use Line 1 for the center back line 
extending it the length desired below waistline. Place S at 
the lower end of Line 12 and make U one-half inch to the 
right and V one inch to the left of it and then draw Lines 
14 and 15 according to instructions previously given. Draw 
the waistline or Line 16 from V through R to Line 8 by 
placing A Curve about midway between R and V, letting 
edge of armhole curve touch V and edge of square touch 
R and Line 8. (See Fig. 354.) 

Measure down six inches below S and make W, then 
draw a line from U to W by placing A on U and letting 
edge of square touch W. Continue it below W in a straight 
line the length desired and connect it with Line 1 at the 
bottom. Draw a line from V to W by placing A Curve on 
V and letting edge of square touch V. Continue below W 
by placing corner of square on V and letting edge of long 
arm touch W. Continue Line 8 the desired length and con- 
nect it with front under-arm line at the bottom. (See 
Fig. 354.) 

Use any style collar preferred, drafting it according to 
instructions already given. Trace, cut and make in the same 
nianner as given in Lesson 12, using the canvas, haircloth, 
etc., as used there. If made unlined, follow instructions 
given for the unlined coat. 

The lines extended full length below the waistline make 
an excellent draft for an automobile, tourist or rain coat. 
The different materials used for the latter are rubberized 
silk, Moire, English Double-Texture material, Priestly 
Cravenette, Mercerized Bengaline, rubberized satin-striped 
twill silk, rubberized English Mohair, water-proof German 
broadcloth, etc. These coats are usually made double- 
breasted, loose front, straight back, and with a collar that 
fastens closely at the neck. The sleeves often have the 
turned-back circular cuffs ornamented with buttons. Two 
deep side pockets, usually patch pockets, with a flap are 
put on several inches below the waistline. The coat may 
be trimmed with straps of the material, piping, or buttons. 
The same profess of tailoring is used in the automobile and 
tourist coats as in any other. The canvas, haircloth, lining, 
etc., are all used. Frequently the lining only extends to hip 

Page Eleven 



line, in which event it is hemmed at its lower edge and the 
seams of the coat are bound the rest of the way down. 




Fig. 355. 



A PRACTICAL AUTO CAP. 

A very pretty little bonnet for motoring, steamer 
wear or general use is illustrated in Fig. 355 which is very 
attractive not only be- 
cause of its becoming- 
ness, but because it is a 
model which may be 
made at home very easily. 
This is known as the 
draped bonnet, owing to 
its construction. The 
points folded in the outer 
portion are brought over 
to the front and fastened 
with buttons covered 
with the material used 
for the bonnet. 

Among the appropriate materials for this design are 
taffeta, linen, the same fabric used for the coat, and simi- 
lar goods. The ties may be made of ribbon, silk or chiffon. 
To make the bonnet in a woman's size will require one and 
one-half yards of material twenty-four inches wide, one 
and one-eighth yards of silk, at least twenty inches wide for 
the lining and the same for the trimming and ties. Of ma- 
terial thirty-six inches wide, one yard will be enough for a 
woman's size, or seven-eighths yard for misses'. 

To draft a pattern for the outside of bonnet, make a 
parallelogram whose top and bottom lines will be twenty- 
two inches long and whose sides will each be twelve inches 
and number them Lines 1, 2, 3 and 4 respectively. (See 
Fig. 356.) From the junction of Lines 1 and 2 measure 
to the left on Line 1 eight inches and make A ; also measure 
down on Line 2 one and one-half inches and make B. From 
B measure to the left one-half inch and make C aad place 
D at the junction of Lines 2 and 3. Draw Line 5 from C 
to D. Draw a line from A to C by placing A Curve on C 
and letting edge of square touch A. Measure down from 
the top of Line 4 a quarter of an inch and make E, then 

Page Twelve 



draw a curved line from A to E, and mark it Line 6. This 
line is drawn by placing A Curve on A and letting edge of 
square extend toward E. As the square is not quite long 
enough to reach the entire distance, draw the line a part 
of the way then adjust square so that its end will touch E 
and continue the line on to E. 

From A measure to the left on Line 6 four and three- 
quarters inches and make F. From F measure to the left 




Fig. 356. 

one and one-half inches and make G. From G measure to 
the left four and three-fourths inches and make H. From 
D measure to the left one and a quarter inches and make 
a point, then raise this point three-quarters of an inch and 
mark it 1. (See Fig. 356.) Draw arrowhead lines con- 
necting A and F, also G and H, and G and I. These lines 
indicate the manner in which the plaits will be laid later 
on. From D measure to the left about twelve inches and 
make a point and placing corner of square on C and letting 
long arm touch the twelve-inch mark draw two short lines 
from C about one and one-half inches long, and about two 
or three inches apart. (See Lines 7 and 8 in Fig. 356.) 
Measure straight out to the left of D seven and a quarter 
inches and make a point, then raise it three-eighths of an 
inch and draw a line to the left one and a quarter inches 
long and mark it Line 9. (See Fig. 356.) From the right 
end of Line 1 measure to the left six inches and make a 

Page Thirteen 



point, then lower this point six inches and mark it J. Now 
cut along Lines 5, 3, 4, 6 and from A to C. This finishes 
the draft for the bonnet itself. 

To draft a pattern for the lining make a parallelogram 
whose top and bottom lines will each be nineteen and one- 
half inches long and whose sides will each be thirteen 
inches and number them respectively Lines 1, 2, 3 and 4. 
(See Fig. 357.) From the junction of Lines 1 and 2 measure 
to the left seven and a quarter inches and make A; also 
from the top of Line 2 measure down three inches and make 
B. Place C at the junction of Lines 2 and 3 and 
draw an inward curved line from B to C and mark 
it Line 5. From A measure to the left seven and a quarter 
inches and make D. From D measure to the left two and 
one-half inches and make E. Place F one inch from top 
of Line 4, and G one inch below D. (See Fig. 357.) 

Draw a line from A to B by placing A Curve on B and 
letting edge of square touch A. Draw a line from A to G 
by placing A on square on G and letting edge of square 




Fig. 357. 

touch A. Draw a line from G to E, placing A Curve on G 
and from E to F, by reversing the curve. Mark this entire 
line from A to F Line 6. From A measure to the left on 
Line 6 three and a quarter inches and make H. From H 
measure to the left one and one-half inches and make I. 
Measure to the right of A on the line from A to B three and 

Page Fourteen 



three-eighths inches and make J. From C measure to the 
left one and a quarter inches and make a point, then raise 
this one and three-eighths inches and mark it K. Draw 
arrowhead lines from E to I, from H to J, and from B to K. 
It will be observed that the arrowheads point the opposite 
way in this draft which indicates that the plaits are to be 
folded over the opposite way in the lining to the way they 
are folded in the outside part. 

From C measure to the left on Line 4 fifteen inches 
and make a point, then placing corner of square on B and 
letting, its long arm touch the fifteen-inch mark, draw two 
lines the same as in Fig. 356 and mark them Lines 7 and 8. 
Measure straight out to the left of jj^^even and a quarter 
inches and make a point, then raise it three-eighths of an 
inch and draw a line to the left one and a quarter inches 
long and mark it Line 9. Cut along Lines 5, 3, 4, from F 
to E and Line 6 to A, then the line from A to B. This com- 
pletes the draft for the lining. The band, trimming por- 
tions, and ties are cut on the straight of the material. 

When cutting lay Line 3 in both the outside portion and 
in the lining on a lengthwise fold. Outline each of the por- 
tions with tailors' chalk then markstitch all around the 
edges being very careful to make the points A, C, I, F, G, 
and H and Lines 7 and 8 in Fig. 356 and points A, B, K, J, 
H, I, G, E and.F and Lines 7 and 8 in Fig. 357 as plaits are 
to be formed at all these points. 

Remove draft and cut allowing three-eighths of an inch 
for seams. Clip the markstitching and open up material 
both of the outer and lining portions and in each side on 
the bonnet or outer portion, make two downward plaits 
bringing G over to H, and A over to F, and in the lining 
make two upward plaits bringing E over to I, and H over 
to J and baste them in position. Fold each of them separ- 
ately along Lines 7 and 8 and bring the fold at C and B 
over to D and C respectively, for a plait- at each side of 
center front. Fold under lower edge of bonnet or outer 
portion along Line 4 one and a half inches from the line, 
and sew twice to position — once on the edge and again one 
and one-eighth inches from the fold, for a casing for elastic. 

Now, arrange bonnet on the lining portion with front 
or plaited edges together and baste them ; fell the lower back 

Page Fifteen 



edge or Line 4 of lining over upper sewing for casing. For 
the band cut a straight strip about twenty inches long and 
four inches wide and cut the ends V-shaped. Join one of 
the long edges of the band to the front edge of bonnet and 
lining, and fell other long edge over the seam just mad(3. 
If the shirred finish is used over the band, cut it about 
thirty inches long and five inches wide. Fold under each 
of the long edges one and one-fourth inches and shir s?\'en- 
eighths of an inch from each fold. Or, if a plaited finish 
is used over the band, cut it about twenty inches long and 
six inches wide and fold under each long edge one and one 
fourth inches and make two backward turning plaits eac.'i 
one-half inch in width. 

Arrange the shirred or plaited portions on band with 
front and lower edges even, sewing the shirred portion to 
position along the shirrings or plaited portion under the 
plaits. Pick up bonnet at J and bring it over to band, tack- 
ing to position under a button as shown in Fig. 355. Fold 
bonnet and lining together at center of Lines 9 and tack in 
an upward-turning plait at ends of these lines. 

For the ties cut two strips each about twenty-six inches 
long and five inches wide. Hem all the long edges with 
narrow hems. Turn under an end of each tie three-eighths 
inches for hems and lay the upper ends in four small plaits 
and tack these plaited ends to lower front corners of bonnet 
under a rosette. 

For the present style of hair dress it is advisable to 
make the width of the parallelogram about fifteen inches 
instead of twelve. 

THE DIVIDED EQUESTRIAN SKIRT. 

Use the plain seven-gore skirt draft as illustrated in Fig. 
137, Lesson 7 for a foundation and divide this into two sec- 
tions in the following manner : Move the first dart one inch 
to the left of its original position on the hip and waistlines, 
then draw the new dart lines parallel with the original dart 
lines; also move the back dart one inch to the right of its 
original position in the same manner, then cut on Line 12 
from bottom to hip line and on Lines 24 and 25 from hip 
line to waistline. This will make a four gore skirt with a 
seam down center front, center back and at each side. 

Page Sixteen 



Squaring on center front line at E draw a line to the 
right seventeen inches long and mark it Line 36. (See Fig. 
358.) Squaring on the right end of this line draw a line 
down the entire front length of skirt, which in this case is 
forty inches, and mark it Line 37. Connect the bottom of 
this line with the bottom of center front line and mark it 
Line 38. 

Now each front must have a plait to conceal as near as 
possible the closing or fastening as this skirt closes down 
the center front. Squaring on Line 36 at E continue the 
center front line down until its length is forty inches and 
mark it Line 39. This will form the fold or edge of the 
plait. From E measure to the right eight inches and make 
0. Squaring on Line 36 at draw Line 40 from O to 
Line 38. 

Measure to the left of one and three-quarters inches 
and make P; also measure down from the top of Line 37 
twelve inches and make R. Squaring on Line 37 at R 
measure out to the left four inches and make S. Measure up 
from the bottom of Line 37 three and one-half inches and 
make T; also measure up from the bottom of Line 40 one 
and one-quarter inches and make U. Draw a straight line 
from S to T and mark it Line 41. (See Fig. 358.) Placing 
A on square on T on draft and letting edge of square touch 
U draw a line from T to U. Reverse square, and placing 
B Curve on bottom of Line 39 and letting edge of armhole 
curve touch U continue the line from U to end of center 
front line. 

Measure straight down from P seven inches and make 
a dot, then move it to the right a quarter of an inch, then 
draw a straight line from P to the dot and continue on down 
in a deep curve to S as shown in Fig. 358. 

Next extend Lines 4, 8, 12, 16 and 32 their full length 
as instructed in Lesson 7. Squaring on Line 16 at its lower 
end draw Line 42 to the left until its length from Line 16 is 
twenty inches. Squaring on the end of this line draw Line 
43 up toward top of paper, making it the length of back skirt 
measure, which in this case is 41 inches, and connect it at 
the top with waistline and mark it Line 44. 

From the top of Line 43 measure down twelve inches 

Page Seventeen 




^ 



FIG. 358 



and make V. Squaring on Line 43 at V measure out to the 
right eight and a quarter inches and make Z. From the 
bottom of Line 43 measure up five and one-half inches and 
make A. Draw Line 45 from A to Z. Now, compare the 
length of Lines 41 and 45. They should be the same length 
as they are seamed togetner. Make any changes necessary 
on Line 45 by lengthening or shortening it at Z. 

From the bottom of Line 32 measure up three-quarters 
of an inch and make B. Placing A Curve on A and letting 
end of square extend toward B, or in line with B, draw a 
line from A to end of square. Reverse square and place A 
on B and let edge of square touch end of Line 16 and edge 
of armhole curve touch end of line just drawn and continue 
the line through B to end of Line 16. (See Fig. 358.) 

Before drawing the bottom outline for the inverted 
plait, fold draft on Line 16 and bring it directly over on 
Line 32 all the way down, then with the tracing wheel begin 
at bottom of Line 16 and trace along the bottom outline of 
skirt until the tracing extends across the folded plait. Un- 
fold draft and mark bottom outline of plait on the tracing, 
otherwise the skirt will not hang evenly across the plait; 
likewise crease on Line 39 and fold it over on Line 40 which 
will form the plait in front, and trace along the bottom 
outline, etc. 

Draw a deep downward curved line from end of Line 
30 to Z. (See Fig. 358.) From S measure to the left three 
and one-half inches on the curved line and make C; from 
P measure down nine inches on the curved line and make 
Q; from Z measure to the right six and one-half inches 
on the curved line and make D. Make one notch at D 
and two notches at C. This completes the drafting for the 
skirt. 

To cut the pattern out cut along the bottom line from 
T to U and on to back edge of front section, or to Line 12, 
then cut Line 41 to S, then the curved line up to P and Line 
36 to E, then the waistline, and Lines 24 and 12. Cut along 
the bottom line in the back section from its front edge 
through B to A, then Line 45 to Z, then the curved line up 
to waistline, then the waistline. The pattern is now ready 
to lay on the material. 

Page Nineteen 



To cut without piecing, would require material from 
forty-four to fifty-four inches wide, but since none of the 
portions on the right of Line 39 will be visible in the skirt, 
narrower material may be used and the piecing made to 
come in that part. If the narrow is used, seam two widths 
together before laying front section on and press the seam 
open. 

Lay the front section with its center front line or Line 
39 on the straight of the material which must be doubled, 
and pin very carefully. Trace or mark all the lines, edges 
and notches according to instructions given in Lesson 7. Be 
sure to mark Lines 39 and 40 as they are the lines that form 
the plait in front, also the dart lines. Lay the back section 
with its front edge on the straight of the material and trace 
or mark all the lines and notches. Cut, allowing three-quar- 
ters of an inch for seams and finishing. 

Remove drafts and markstitch in all the tracings or 
marks. Take up the darts in the front as indicated by the 
dart lines. Form a forward-turning plait in each front by 
creasing on Line 39 and folding it over on Line 40 and baste 
them ; also lay the inverted plait in the back in position and 
baste it. Join the left front section to its corresponding 
back section at side seam, also the right front to its corre- 
sponding back section at side seam. Then join the edges 
that will form the leg portions or Lines 41 and 4'5, then the 
center back seam down to within one inch of D and stitch. 

The next step will be to face the right front for the 
buttonholes and finish the left front with a fly for the but- 
tons. This facing or fly should be about one and three- 
quarters inches wide and ten inches long, tapering to a width 
of three-quarters of an inch at the bottom after the seams 
are taken off. (See dotted line on front below Line 36 near 
P.) It IS cut and shaped by the front. Make a notch in the 
fly to correspond to the notch at Q so that the two may be 
joined together properly. Three pieces are needed for the 
right front and two for the left front. The three pieces for 
the right front are applied in the same manner exactly as 
given for a boy's trousers in Lesson 17. One piece is used 
as a facing and the other two for the buttonhole piece. 

For the left front baste and stitch the two fly sections 
together around the outer edges and at the bottom, having 

Page Twenty 




right sides facing each other, then turn right side out and 
sew one of the inner edges to the edge of the left front, hav- 
ing the notches even, then turn under the other edge and 
baste and stitch. This will extend out from the left front 
while the ones on the right front are put on as a facing. 

A gusset must now be inserted between the leg portions 
to give ample freedom for walking, mounting or when in 
the saddle. To draft a gusset, make a parallelogram whose 
top and bottom lines will each be eleven inches and whose 
sides will each be two and a quarter inches, and number 
them Lines 1, 2, 3 and 4 respectively. (See Fig. 359.) From 
the left end of Line 1 measure to the right four and a quar- 
ter inches and make A. Place B at the junction of Lines 
3 and 4. From C measure to the right one inch and make a 

point, then raise it one-half 
inch and mark it D. (See 
Fig. 359.) Draw a line 
from B to A by placing A 
^^^' 359. on square on B and letting 

edge of armhole curve touch A on draft, and mark it Line 
5. Also draw Line 6 from C to D in a little downward 
curve, then continue on up to A in an outward curve as 
shown in Fig. 359. From B measure to the left on Line 5 
one inch and make E. Cut on Line 6 from C to A, on Line 
5 from A to B and then on Line 3. Lay Line 3 on a foM 
of the material and trace and cut allowing three-eighths of 
an inch for seams. Notch the material at D with one notch 
and at E with two notches as these points are essentia] 
when sewing the gusset to the skirt. 

Next, pin one side of the gusset to one side of the 
skirt so that notch at D in gusset will come at notch at D 
in the back and the two notches at E in gusset will come 
at the two notches in front at C. Pin the other side of 
gusset in a similar manner to the other edge of skirt. In 
other words the edges of the short end of gusset are joined 
to the backs and the edges of the long end are joined to the 
fronts. Baste the gusset seams and then try the skirt on 
Make any changes necessary, then remove and stitch the 
gusset in. 

On the right front let the edge of the plait come to the 
edge of the opening, at the top. On the left front let the 

Page Twenty-One 



edge of the plait come to the seam of the fly or rather where 
the fly is joined to the front, which will bring the edges of 
the two plaits just together when the skirt is closed. Baste 
in this position, then sew on a belt according to instructions 
already given, having the center of the belt come at the 
center back line. Fasten the belt with hooks and eyes, but 
use buttons and buttonholes on the fly and buttonhole 
piece. Turn up the bottom on the tracings or markstitching 
and face. 

QUESTIONS. 

1. (a) In drafting an Eton coat how do the measure- 
ments differ from those used in a semi-fitting? (b) What 
two exceptions are made in the draft? 

2. (a) How are the different sections traced, cut and 
joined? (b) Explain how the collar sections are traced. 

3. (a) How is the padding, lining, etc., applied in the 
Eton coat? (b) What is the most important feature of this 
coat and how does the construction of the collar differ from 
an ordinary sailor collar? 

4. (a) Explain how to lay each of the collar sections 
on the material, (b) Explain how the outer edges of the 
collar and lapels are finished and how the collar is applied 
to the coat. 

5. (a) When the collar and lapels are omitted what 
changes are made in the Eton draft? (b) What is the 
difference in cutting a seven and eight piece Eton? 

6. (a) How is a round collar as shown in Fig. 350 
drafted? (b) What change is made in draft shown in Fig. 
346 to draft a pattern with no under-arm seam and how is 
the pattern laid in making a back as illustrated in Fig. 352 ? 

7. (a) Explain what changes are made in draft 
shown in Fig. 346 to draft a pattern with no side back or 
side front seams as indicated in Figs. 353 and 347 respec- 
tively, (b) How is the draft for a Kimono Eton made? 

8. In drafting a pattern for a sack coat what change 
is made in the semi-fitting draft in placing E and what is 
the purpose of it? 

Page Twenty-Two 



9. (a) How is a draft made for an automobile, tourist 
or rain coat? (b) Name some features as to the style of 
these coats and two or more materials of which rain coats 
are made. 

10. (a) What materials are appropriate for an auto 
cap? (b) How are points A and F, G and H and C and I 
located and what do they represent? (c) How is the pat- 
tern for the outer bonnet portion cut from the draft? 

11. (a) What do arrowhead lines from E to I, H to 
J and from B to K indicate and how do they compare with 
those in outer portion of bonnet? (b) Explain how to cut 
pattern for lining portion from the draft. 

12. How are the outer and lining portions of pattern 
laid on the material and what points on each should be indi- 
cated and why? 

13. Explain how the casing at the lower back edge is 
made, also how the band is cut and applied. 

14. What changes are made in the original seven-gore 
skirt draft in making a foundation for an equestrian skirt? 

15. How are Lines 36, 37, and 38 or the extension for 
plait and leg portion on front part of draft made ? 

16. Explain how Lines 42, 43 and 44, or the extension 
for plait and leg portion on back part of draft are made. 

17. What lines in front and back portions should be 
equal in length and at what point is Line 45 lengthened or 
shortened ? 

18. (a) Explain how to cut both front and back sec- 
tions from the draft, (b) Explain how the pattern of 
each section is laid on the material and how they are basted. 

19. (a) How are the buttonholes and buttons ar- 
ranged for? (b) Explain fully the cutting and applying 
of the facing and fly. (c) How is the gusset basted to the 
skirt? 

20. (a) Where should the edges of the plaits in the 
front come? (b) How is the equestrian skirt finished at 
the bottom? 

Page Twenty-Three 









--■ .|i^ v%^M, 

. m 






FILING DEPARTMENT. 
Sectional view of Filing Department, where the 
names and records of over 30,000 students and over 
a quarter of a million correspondents are kept in trip- 
licate; alphabetically, geographically, and a date file 
showing a complete record of each name from the time 
the first letter was received up to the present moment. 
Tell your friends about our work and have them write 
for our booklet telling how we teach dressmaking by 
correspondence. 
Address : 

AMERICAN COLLEGE OF DRESSMAKING, 
Kansas City, Mo. 



Page Twenty-Four 



THE 

AMERICAN SYSTEM 

OF DRESSMAKING 



A Course of 

Instruction by Mail 

in the 

Science and Art 

of 

Successful 

Dressmaking 

And Ladies' Tailoring 



Lesson No. 19 



The American College of Dressmaking 

(Associated Training Schools, Proprietors. ) 

KANSAS CITY, MO., U. S. A. 



Copyrighted 1906, 1907, 1908 and 1909 
hyJ.M.Stelle 

Copyrighted 1910 and 1911 
h^ Associated Training Schools 



Jill rights reserved. 



Printed in the United States. 



%\lt 



ameritan ©j^^tem 
ot Bre00mafein!i 

TAUGHT ONLY BY THE 

American College of Bressmafeing 
Kansas Citp, Mo. 

Miss Pearl Merwin, Supervisor. 

Lesson No. 19 

APPROPRIATE WARDROBES FOR VARIOUS 
OCCASIONS. 

We have so frequently been asked to give a brief sketch 
or discussion of wardrobes appropriate for different oc- 
casions, such as a traveling outfit, fashions for the seaside, 
fancy dresses for costume parties, wedding trousseaus, 
graduate dresses, mourning, etc., etc., that we have decided 
that a lesson on these various subjects will not come amiss. 

TRAVELING OUTFIT. 

So many conveniences have lately been gotten out for 
the use of the traveler that no one who takes the trouble 
to purchase a suitable outfit can complain now-a-days of 
lack of comfort on a train or steamer. If one is to be many 
days en route, say a long trip on the train or an ocean 
voyage, a dressing bag of some kind is well-nigh indis- 
pensable. Rather an elaborately fitted-up bag in the shape 
of a small leather suit case is shown in many stores, also 
simpler and cheaper ones which take the form of folding 
cases fitted with comb, brush, manicure scissors, mirror, 

Pag^e Three 



glass bottle for holding the tooth brush, towels, soap, wash 
rags, etc. etc. 

One of the latest things in the way of a dress suit case 
is woven straw stained a beautiful as well as a serviceable 
dark brown. It has leather corners, a leather handle and 
straps going around it to strengthen it. Some of them are 
lined with the daintiest possible pink and white cretonne 
and contain a big pocket for keeping clean shirtwaists in 
good condition and away from the other contents of the 
suit case. 

There are endless varieties of the little accessories for 
the feminine traveler. There are cases for almost every- 
thing necessary on a trip; a leather case for the bottle of 
bromo seltzer, useful to ward off car sickness and head- 
aches, and a companion one for the smelling bottle of lav- 
ender salts. A small medicine case containing useful home 
remedies, court plasters, etc., is almost indispensable; the 
folding lamp for the curling iron will be found a useful 
luxury, and the half-dozen coat hangers, fitted in their neat 
leather case, will prove a boon to the woman who spends 
much time at the ordinary summer hotel with its cramped 
closet-room. 

Another novelty for travelers is the case of brown 
suede that contains a real feather pillow, a warm shoulder 
shawl of cashmere, and a sleeping cap to protect the head 
from draughts. A very convenient contrivance for carry- 
ing money and jewels is a case made of gray suede with 
stout straps of webbing to suspend it securely from the 
waist. There is also a little chamois pocket with a detach- 
able cover of linen which is to be worn around the neck and 
tucked into the top of the corset. 

So much for the accessories. As to what you will need 
in the way of wearing apparel will depend upon where you 
are going, the season of the year and the weather, as will 
be shown in the following pages. 

A WESTERN TRIP. 

By this is meant a trip to the mountains, for the pur- 
pose of resting, recuperating, climbing, etc., therefore no 
Pag^e Four 



great amount of baggage is necessary, unless one goes for 
social pleasure also. 

You will need one smart, serviceable traveling suit with 
hat, gloves, shoes and waist in keeping with the suit. Or- 
dinarily the well-dressed women wear dark suits and self- 
colored blouses when traveling. After reaching your des- 
tination you can use your tailored shirtwaists and lingerie 
blouses for morning wear. There is always a great satisfac- 
tion in putting on a clean tailored shirtwaist in the morning ; 
it seems to make a good beginning for the day. For climbing 
the mountains nothing is so appropriate as a flannel blouse 
made with a sailor or Dutch collar, a short skirt of khaki, 
and high top boots with heavy soles. Instead of khaki, the 
skirt may be made of strong durable serge and made a 
divided skirt which will be handy for riding the burros as 
well as for climbing. 

You will have no use at all for tub-dresses, house dress- 
es or morning frocks. A suit for an occasional trip, and a 
long coat and a smart little dress for the Sunday drive to 
town, or for church, or a little impromptu gathering, will 
cover practically all of your needs. After retiring to your 
room at night, you may need a wrapper or kimono of out- 
ing flannel and house slippers to slip on while brushing 
your hair and making the necessary preparations for re- 
tiring. The nightgown should be of outing flannel also as 
the nights are quite cool and crisp. 

A TRIP TO THE SOUTH. 

The trip to the South has come to be such a generally 
accepted feature of mid-winter that suitable materials, cos- 
tumes and millinery are exploited immediately after the 
Christmas holidays for this purpose. For the journey you 
will need a good well-tailored suit with a dark or self- 
colored blouse, with perhaps a white or light waist to freshen 
up in just before reaching your destination. If you are 
visiting relatives or friends then you may include in your 
wardrobe one or two pretty and dainty house-dresses or 
negligees for morning wear. If stopping at hotels or inns, 
then you will have no occasion to wear them. 

For teas, receptions, etc., you will need several good- 
Page Five 



looking afternoon dresses. These may be made of any of 
the soft silks such as foulard, chiffon, crepe de Chine, silk 
cashmere, voile, messalines, etc. Many smart dressed wom- 
en make their afternoon dresses with a removable net yoke 
so that they may serve as evening dresses also and thus 
extend the usefulness of their gowns in this way. They 
may be made round length or with a slight train, but the 
latter makes a more dignified toilette for both afternoon 
and evening use. 

For evening wear, if your financial circumstances will 
permit, a gown or two of the soft shir materials such as 
chiffon, marquisette, grenadines, veilings, etc. made over 
soft silks or satins will be most appropriate for dinner par- 
ties, balls, concerts, theatres, etc. Crepe chiffon, mous- 
seline de soie, net and marquisette are the general names 
for the many thin and gauzy materials that are combined 
with satin for evening wear. The effect of these flowing 
draperies veiling the rich color of dull-surfaced satins is 
indescribably lovely. Contrast in color is a delightful 
feature of this style, but the combinations must be skillfully 
made and with an eye to artistic results. The all-black 
evening gown is a great favorite of fashion and it offers 
tempting possibilities for rich ornamentation in jet. Both 
black net and black satin gowns are trimmed with it; the 
only color used on the black gown is gold or silver em- 
broidery or gold gauze, veiled with chiffon or fine net. 
Silver gauze is as beautiful with the all-white gown as jet 
and gold with black. However, there are some very beauti- 
ful inexpensive materials now such as the cotton voiles, soft 
foulards, and the many attractive forms of batiste which 
are suitable as well as popular. The garnitures or trim- 
mings for such dresses can be bought in all first-class dry 
goods stores, but many beautiful effects can be made by the 
woman who is industrious and skillful with the needle ; for- 
tunately for the woman with the slender purse, it is very 
fashionable indeed to do all kinds of fine needle work, and 
numbers of women are doing all the fine bead work, braid- 
ing and embroidery on their gowns. 

You will also need an evening coat or wrap to wear 
with your light dresses. If you get a long black satin coat 

Page Six 



or a tan pongee, of the right type, you can wear it either in 
the afternoon or evenings. 

In addition to these garments you will need a half-dozen 
or more lingerie waists with a skirt or two of some kind 
of light weight material such as the serges, novelty goods, 
mixtures, etc. Besides a small street hat you should have at 
least one larger and more dressy hat that you can use for 
both afternoon and evening wear. Gloves, shoes, parasols, 
etc., must be looked after just as carefully as your gowns. 

A TRIP ABROAD. 
Necessary Garments Needed on the Voyage. 

A suit case, one steamer trunk and a traveling bag are 
about the only luggage you will be able to have access to 
in your stateroom while on the voyage, therefore it is quite 
essential as well as necessary to have everything you need 
to make you comfortable in these three baggages. If you 
take another trunk, it will be placed in the hold or baggage 
department and you will not see it until after you land. 
The flat steamer trunk can be kept under your birth or bed 
and will not be in the way. The suit case or hold-all is 
quite a necessary adjunct for holding your steamer rugs, 
pillows, etc. They are dark brown canvas and bound with 
leather as described in the first part of this lesson. You 
will use the traveling bag to put little things in you need 
for over-night in going from place to place. Put tags with 
your name plainly written on them on your rug, pillows, 
bag and strap. Mark your trunk with your name and some 
device. 

On board you will need a cap or bonnet and a heavy 
coat or wrap. These should match in color. Fig. 355, Les- 
son 18, is an excellent cap for this purpose as well as any 
of the coats mentioned for motor or steamer wear in that 
lesson. The coat should fit rather close and high at the neck 
to shield you from the cold winds, and made of material 
that will stand rainy weather. Its lining should be of 
Skinner's satin or of the mercerized linings now so popu- 
lar. It should be well interlined with flannel. A great many 
tourists wear long coat-sweaters and find these none too 
warm, even under a steamer wrap, and a couple of rugs. 

Page Seven 



One rug will be sufficient if you are crossing in the sum- 
mer, but you will need two if you go in early spring or 
March or April. 

You will need two pillows for your deck chair, one of 
the ordinary sofa-pillow size and the other a little smaller, 
the former for your back and the latter for your head. 
Fasten a small loop of cord on two of the corners of the 
small one to slip over the ends of the chair. It would be 
a unique idea to have your rugs on the same tones as your 
coat and cap, and your pillows covered with linen in a 
color that will harmonize with them. You ought to engage 
your steamer chair as far ahead as possible in order to get 
a good position on deck. The best place is on the south side 
of the vessel as nearly amidship as you can get. 

While en route on train and when going on board ship 
wear a small hat also a tailored suit made of the best ma- 
terial you can afford, preferably a dark blue or brown one 
made up in a style that is neither too severe for afternoon 
wear nor too elaborate for morning wear. The coat may be 
made with the Sailor collar and cuffs and trimmed in but- 
tons or braid. The skirt may have a double box-plait in 
the back and a panel in front and a plain circular flounce 
on the sides. It may be trimmed with buttons or braid to 
match the coat. The raised waistline would be quite ap- 
propriate when in fashion and it should be made as short 
as can be gracefully worn. 

With the suit you will need a waist of the same tone and 
it should be of soft sheer material which will enable you to 
wear it every night for dinner on the steamer if made i^ the 
right style. Chiffon or liberty satin are excellent materials 
for this waist. It would be quite proper to make it French 
neck and elbow sleeves as this is more dressy, though the 
high neck and full length sleeves is good style if you prefer 
it. The Persian silks of the same tone as your suit may 
also be used for waists of this character. 

For wear on deck under your coat you should have some 
flannel waists and an old cloth skirt, especially if you are 
crossing early. You may have any number of tailored and 
lingerie waists for morning wear after you reach the other 
side, but you will not need them on board ship. 

Page Eight 



You will need at least one evening dress in your steamer 
trunk which can be so constructed that it can be worn with 
a guimpe for afternoon functions, after you land. This 
should be made of substantial materials that will stand hard 
wear and in colors that will not be in the least conspicuous. 

You will need all the little toilet accessories and the 
easiest way to carry them is in a tourist's apron. It is a 
small aporn provided with innumerable pockets to hold the 
various articles. It should be made of good strong, but not 
too clumsy material, such as chintz, linen, etc. The pockets 
for the wash-rag, tooth-brush, soap-box, sponges, etc. should 
be lined with rubber sheeting. The other pockets for face- 
powder, hair-pins, comb, hair-brush, pins, etc., need not be 
lined. The advantage of this apron over the ordinary dress- 
ing-case, is that it can be tied on when you are at your toilet, 
and you have everything just where you want it without 
having to lay them down on the public dressing-table. 

Do not fail to take along a small sewing bag fitted out 
with buttons, different colored sewing silks, sewing cotton, 
coarse thread for shoe buttons, scissors, needles, thimble and 
so on. The hot-water bag and all simple home medicines 
you are accustomed to using should be taken along also. 

When going ashore wear your tailored suit until you 
reach your stopping place or hotel when j^ou are at liberty 
to freshen up in a lingerie blouse or tailored waist with a 
good cloth skirt. If it is your purpose to remain several 
weeks in one place and attend teas, receptions and social 
affairs then you will need more than one afternoon and 
evening dress, also an evening coat or wrap. You can man- 
age with two hats, the small one that you wear with your 
suit and a large one for evening. If you are traveling con- 
stantly and don't intend to go out much in the evenings, 
then you will not need the evening dress, coat or hat. 

By all means, buy all the shoes you will need before 
going over. You should have a pair of black lace or button 
high shoes and a pair of low shoes for walking, a pair of 
high suede or patent leather shoes for afternoon use, and 

Page Nine 



a pair of black evening slippers. If you can afford it, slip- 
pers and hose to match your evening gown will be quite 
proper. Then you will need rubbers and bedroom slippers. 
Take a good supply of hose so that you won't have to spend 
your time on darning them. 

You should have at least two pairs of walking gloves, 
and two pairs of long white gloves to wear with your chif- 
fon blouse and evening dresses. White gloves are worn al- 
most exclusively abroad and you can have them cleaned so 
quickly and inexpensively that they are not much trouble 
and they look much nicer than dark gloves. You will need 
a goodly supply of lingerie and handkerchiefs. Laundry 
work is done so quickly that there is no need to burden your- 
self with a large amount of underwear. One kimono made 
of rather a dark well-colored silk that will not soil easily 
will serve all your needs in this line. 

You will need an umbrella for rainy weather and a par- 
asol for the sunny weather. If you are traveling in mid- 
summer when your steamer coat would be intolerably hot, 
then take a rain coat besides. A linen duster for summer 
railroad traveling will save and protect your suit. Take 
plenty of face veils and a long veil to protect your hat. Hang 
up your clothes whenever possible to do so. The travel and 
constant packing is very hard on them. 

In traveling you will find that you will have to tip a 
great deal. On trains you will have the porters and waiters 
to tip. On board ship you will have your deck steward and 
cabin stewardess to tip, two dollars and a half apiece and 
the same amount to the music committee. The bath attend- 
ant, the elevator boy and the boot-black all come in for their 
share of tips. In hotels you will have to tip porters, waiters, 
maids, bell-boys, etc. for every service rendered you how- 
ever small. 

FASHIONS FOR THE SEASIDE. 

Very attractive are the bathing suits worn by the fair 
bathers at all the fashionable seashore resorts along the 
coast. They are smart in style and decidedly shapely and 
are made of modish fabrics and are trimmed in most at- 

Page Ten 



tractive ways. 





I 




Not the smallest accessory of the bathing 
suit is overlooked or forgotten — every 
little detail is considered. The girl who 
studies her clothes and who cares es- 
pecially for appropriateness in dress is 
very particular about her bathing cos- 
tume. She wants it to be stylish, but 
she is equally anxious that in no way 
shall it be conspicuous. In deciding 
upon the color, select either a dark blue, 
dark brown or black, preferably the 
former. Such shades as red, light tan 
or white are permissable for little girls. 
Keep the foundation dark and introduce 
colors in the trimming, if desired. 
Knickerbockers are worn under the suit. 
Light weight serge, mohair, brilliantine 
and flannel are the fabrics most com- 
monly employed for these garments; 
but black silk or satins are also used. 



Fie. 360. 



An extremely smart bathing suit is 
shown in Fig. 360. The long front and 
back panels in princess style is very 
becoming to the slender as well as the 
stout woman, for to both it lends a 
graceful trim effect which is not always 
seen in a bathing suit. Then, too, this 
is a very convenient style for a suit, for 
it can be slipped on with very little 
trouble and the wearer will be assured 
that there is no danger of the waist and 
skirt separating, at the belt, as they are both attached to it. 
The suit fastens at the left side of the panel and opens from 
the shoulder to the bottom of the skirt. The skirt hangs 
straight from the waist and is unadorned, save by braid or 
a circular band of plaid material at the bottom. The belt of 
plaid disappears under the panels. Two tucks over the 
shoulders give just sufficient fullness over the chest to allow 
ease and comfort for the wearer to swim in, without hinting 
at clumsiness. The Dutch square neck faced with the plaid 
makes an appropriate finish for the handsome suit. For a 

Page Eleven 



woman of medium size the suit with band will require two 

and three-eighths yards of material forty-four inches wide, 

with seven-eighths of a yard of contrasting material thirty- 

^ six inches wide for neck, belt and 

. ...^ ^ <** band. Two yards more will be re- 

m- >£^ quired for the knickerborckers 

which are usually fastened to an 

,^' j^ underbody or waist. 

Another clever style is illustrat- 

\ ed in Fig. 361 which shows the 

/ %. old-time but just-as-popular Sailor 

blouse with collar and dickey. The 
blouse fastens in surplice fashion 
in front and the skirt is composed 
of nine gores, with a backward 
turning plait at each seam and one 
in the center of each gore, with an 
j inverted plait at the back as de- 

scribed in a former lesson. These 
plaits are stitched to a yoke depth, 
^^ therefore the skirt is not bulky 

I around the hips. Striped mohair 

with bands of contrasting plain 
} material complete this jaunty little 

i suit. Knickerbockers attached to 

an underbody are also worn with 
M it. For a woman of medium size, 

the waist and skirt will require 

fsix and seven-eighths yards of ma- 
terial twenty-seven inches wide, 
*''^' **^* with a yard and a quarter of con- 

trasting material twenty-seven inches wide for collar, belt 
and bands, and one-half yard of material the same width for 
the chemisette or dickey. Three and one-half yards of 
twenty-seven inch width will be required for the knicker- 
bockers. 
Page Twelve 



Fig. 362 portrays another 
clever design in a bathing suit 
which comprises a Russian 
blouse effect with body and 
sleeve in one. The raised 
waistline is another striking 
feature of this model. It is 
made with the round French 
neck and the bands of con- 
trasting checked material 
with three rows of narrow 
braid are very effective. 
About the same amount of 
material is required as for 
Fig. 360. 

There is a new scarf head- 
dress for bathing purposes 
which is rather interesting. 
These scarfs are not adjusted 
in the manner of the old-fash- 
ioned handkerchief, but are 
wrapped about the head in 
Oriental and classic fashion. 
(See Figs. 360, 361, and 362.) 
The hair is covered with a silk 
rubber cap and the scarf is 
bound around the forehead 
and tied in a coquettish knot 
at one side, or fastened with 
Figr. 362. rosettes on each side. These 

are usually in colors to match 
the trimming bands on the suits. Then the shops are show- 
ing multitudes of the most becoming bathing caps that have 
ever been put on the market. 

Another novelty which marks the improvement over the 
bathing days of sometime ago is the bag of water-proof 
satin, rubber lined. Into this goes the suit, cap, slippers, 
stockings and many other things which the bathing girl 

Page Thirteen 





needs. The top is made to fasten with a draw-string as 
shown in Fig. 360. 

No longer are bathing-slippers unshapely things. They 
are still made of canvas and sometimes of satin, but they 
are cut on trim pump lines and have well-cut soles of cork. 
Some are trimmed with a little frill of ribbon tape at the 
instep curve and have long ribbons or tapes which lace 
across the instep and around the ankle in a truly sandal 
style. 

Practically every woman wears a corset with her bath- 
ing suit and it is well to take an old one along with you for 
this purpose. They can be rented, however, at the beach. 

Among other points of fashion interest noted on the 
beach are parasols to match the suits. For instance, if the 
suit is blue with trimmings of red, the parasol too is blue 
and has a red silk band or border. If the trimmings are 
checks or plaids the parasol has a border of the same 
checked or plaid silk. Few of the bathers make any use of 
a protective wrap, either before entering or after leaving 
the surf. 

FANCY DRESSES FOR COSTUME PARTIES. 

February is the month of masquerade parties and balls, 
though in different parts of the country these festive oc- 
casions take place in the fall or about Hallowe'en time. 
Dressmakers and mothers are assailed for "something to 
wear" that will represent some personage or idea. It is 
desirable in most instances that the costume should not be 
very expensive as it is hardly ever worn but the one time. 
The important thing is to have the costume represent the 
character so well that the wearer enters into the spirit of 
the impersonation and looks the part as well as acts it. Be- 
fore attempting to develop a costume, books and pictures of 
old-time characters should be studied carefully, paying very 
close attention to the details that may at first seem trifling 
but which are really important, such as the shoes, stockings, 
the way of wearing the hair and other matters. Then select 
a part that it will be possible for the intended wearer to get 
a costume for, and which is suited to her individuality. 
Much depends upon this careful thought and planning. 

Page Fourteen 



Fig. 363 shows a graceful Colonial gown of the period 
of 1735-1760. It would make a beautiful costume fashioned 
of flowered cretonne over a petticoat of sheer lawn or taffeta 
trimmed with narrow ruffles of the material, and festooned 
with tiny pink roses carrying the note of color in flowered 
material. Soft frills of lace hang below the elbows and the 
bodice front, made of lace, is adorned with satin bands and 



;.j 





Fig. 363. 



Fig. 364. 



bows. Narrow plaitings of silk are used as a trimming with 
a tiny edging of silk. This costume will require five and 
one-half yards of cretonne and four yards of lawn. 

Fig. 364 represents Pocahontas, the Indian maiden. Use 



Page Fifteen 




khaki cloth for the dress, and slash the material at the sleeve 
ends and lower edge of skirt to give a fringed appearance. 
Trim the side of the under;i^seam with rows of the fringed 
material and work out the design on the knapsack, girdle and 
dress with red, white and 
blue glass beads. Or, if 
a design in the stencil 
work could be found to 
carry out the same idea 
as the beads, it may be 
used on the costume it- 
self, and the beads worn 
around the neck. Beaded 
moccasins and leggings 
should be worn, also red 
feathers in the hair. 
This dress will require 
five and one-half yards 
of 36-inch material. 

Fig. 365 represents a 
charming shepher- 
dess costume which is 
easily made and is won- 
derfully effective, as it 
conveys the impression 
of the utmost simplicity. 
It can be made of any 
gaily flowered lawn, 
cretonne, or foulard silk, ,^ 

in the quaint old-fash- ^ 
ioned Dolly Varden pat- 
terns. Net may be used ^*^' "®^' 
for the yoke, and 

the shepherdess hat trimmed in black velvet ribbon, as well 
as a bow of it on the shepherd's crook. The skirt, should be 
made ankle-length which discloses the pink stockings and 
black suede pumps. This costume will require twelve 
yards of 27-inch material. 
Page Sixteen 




"Night" as shown in Fig. 
366 is an attractive char- 
acterization and one that is 
easy of development. This 
figure wears a dress of black 
net liberally covered with 
silver stars. Above her brow 
IS a larger star, or it might 
be of rhinestones or other 
brilliants. Her wand dis- 
plays a constellation of glit- 
tering stars. This is a simple 
little princess model with 
ruffles of black lace or net, 
and will require ten yards of 
36-inch material. 

Other popular impersona- 
tions are the Italian peasant- 
girl, Spanish costume, 
"Folly," Domino, "Rose" or 
"Queen of Flowers," the 
Dutch girl, Red Riding Hood, 
the Milk-maid, the Salvation 
Army lassie, Quaker-maid or 
Priscilla, Cow-girl, Japanese 
Girl, Little Girl Costume, 
Gypsy Costume, Mexican Cos- 
tume, Scotch lassie, Greek 
Costume, etc., etc. 



^ 



n^ 






Fig. 366. 



THE WEDDING TROUSSEAU. 

Under this head it is our purpose to give an outfit that 
will meet the average needs of the average girl. Of course, 
there are numbers of brides who will be able to spend more 
money and will want a larger and more expensive outfit 
but they will have no difficulty in their selections since they 
do not have to consider the financial side of it. 

A bride nearly always wants to do too much. She will 
work herself and sometimes her feminine relatives almost 
to shadows making a trousseau far too fine for practical 
use when finished. There is reason in all things and a 

Page Seventeen 



girl's trousseau should consist of what is going to be of real 
use to her after the wedding. 

It is a very poor plan to provide too many clothes as 
they go out of fashion, undermuslins yellow if unused, and 
many accessories, shoes and gloves especially, do not im- 
prove with age and disuse. The dry goods stores are al- 
ways with us and a wardrobe can be replenished newly 
rather than to have so much to make over. The main thing 
is, have a suitable outfit; a becomingly and appropriately 
attired bride is at her best. 

Therefore, for the girl of limited means it is of the 
utmost importance that she plan her outfit very carefully 
in order that she may have the suitable things for all oc- 
casions. Get as good quality of everything as you can pos- 
sibly afford even if you have to have fewer clothes. Select 
styles that are not too simple and severe and on the other 
hand that are not too elaborate and bizarre. Ascertain the 
newest colors, newest materials and newest models and they 
will be much less likely to go out of fashion before their days 
of usefullness are over. Most of the fashion magazines 
forecast these items two or three months in advance of their 
appearance and you can inform yourself along these lines 
and be ready for them. From seven and one-half to ten 
and twelve yards of material 1^ inches wide will be required 
with eight yards of material for a slip, for an ordinary 
wedding dress. 

Many brides prefer silken wedding gowns, but for a 
girlish bride, nothing is more youthful or sweeter than a 
white cotton frock, simple and dainty. It may be made very 
attractive and effective by one's own simple hand-work with 
embroidery, fancy stitches or a bit of lace, and be a much 
more useful dress to wear after the wedding than a more 
costly and elaborate gown of satin, chiffon or net. If there 
is any extravagance shown at all, let it be in the irresistible 
veil; it is the exclusive privilege of the bride, charmingly 
symbolical of her youth and maidenhood, and a veil of tulle 
— always exquisitely lovely — need not be very expensive. 
Two and one-half yards is its average length. 

In draping a veil, fasten one corner on the head under 
a wreath of orange blossoms, myrtle or a bandeau of pearl 
beads. Arrange it in graceful folds and shape it around the 

Page Eighteen 



lower edge to conform with the length of the dress. Use 
a heavy silk wire wrapped with narrow ribbon for the 
foundation, to which the veil may be sewed and fastened 
with long pins on the head. The veil may be drawn around 
over the face, and the folds simply parted and thrown back 
after the marriage ceremony. 

Lace veils are worn quite frequently also and as they 
can be had in really good imitation lace they are not very 
expensive. Real lace veils and shawls used as veils are worn 
by daughter, mother and grandmother, and treasured as 
heirlooms in many an old family, but these are not as girlish 
in appearance as the filmy tulle. They cannot be worn over 
the face, but must be arranged to fall over the shoulders 
and in the back only, as a lace veil does not lend itself 
gracefully to any other form of draping. 

The going-away suit is next the most important item 
in the trousseau. For an all-around suit that is used for 
many different purposes, a dark blue serge is the most ap- 
propriate and will always be in fashion unless made on ex- 
treme lines. Just at present such a suit is frequently of 
mottled or striped mohair in place of the longer-worn serge. 
Be sure to line the coat for you will want to wear it in 
both the fall and spring seasons. Six and three-quarters 
yards of 50-inch material and three and one-half yards of 
lining will be required for the average suit. The waist 
should match the coat in color but not in material. A chif- 
fon, crepe de Chine or a soft Persian silk would be quite 
proper. Two and three-quarters to three and one-half yards 
will suffice for the waist. 

For afternoon and evening wear you will need some sort 
of a simple little silk dress. Your wedding gown will answer 
for all formal occasions, but for teas, semi-formal affairs, 
etc., a little dress of silk or satin foulard will come in very 
handy. The cotton voiles now so stylish, are beautiful made 
up with Venise, Irish and Cluny lace for dressy wear; then 
too, in gowns of this material one may have legion if she 
can make them, as they cost but a trifle and are very ef- 
fective. About ten yards of material will be required for 
a dress of this kind. 

You will also need some sort of a morning dress made 
of linen, challis or silk-finished cotton foulard, in a simple 

Page Nineteen 



one-piece style buttoning down the side-front and snugly 
fitted, with a comfortable collarless neck and short sleeves. 
If you expect to visit your husband's relatives on your wed- 
ding tour, it would be extremely indiscreet to depend upon 
negligees for breakfast, especially if you are not familiar 
with their habits. This dress you can afterward use when 
busy with your morning housework. Six yards of linen 
will be necessary for this dress. 

You will also need about a half-dozen shirt-waists, two 
or three tub dresses and a little thin dimity, swiss or batiste 
dress for afternoon wear at home and a kimono or dressing 
gown. For the kimono you may use an inexpensive cotton 
crepe trimmed with bands of silk. If you can possibly af- 
ford it have a nice evening coat or wrap. A light-weight 
broadcloth makes an excellent coat for this purpose and it 
can be had in all popular colors. 

A bride's undermuslms depend upon her skill and purse, 
as made at home, she gets better garments for the price. 
Nainsook and longcloth combined with embroidery and lace 
with perhaps touches of ribbon here and there make dainty 
garments that mark the refined girl. You should have at 
least six pairs of drawers, six combination corset covers and 
petticoats made like the princess slip with adjustable 
flounces, mentioned in a former lesson, will be of much ser- 
vice to you. The upper part may be made of longcloth and 
the flounces of different materials such as silk for suit wear, 
nainsook and embroidery for dressy wear and gingham or 
sateen for every-day wear. 

Two pairs of corsets are as few as a woman can get 
along with, three would be better, using one pair for negli- 
gee or lounging wear, as this ruins the usual type of even- 
ing or day corset. 

A girl never has, so she thinks, too many hats, but a 
ready-to-wear or street hat of soft straw nearly self -trim- 
med, and a dress hat should satisfy any sensible girl. Veils 
must not be forgotten, chiffon, lace-edged, and small face 
veils. The hosiery depends upon the shoes, matching these 
in black, tan, white, etc. Other little things you will need 
are handkerchiefs, pretty and dainty neckwear, bedroom 
slippers, parasol, gloves, etc. etc. 

So much for the trousseau. If the expense can possibly 

Page Twenty 



be borne by the bride's family, she should furnish the house 
linen ; at the very least she should provide for her bedroom. 
If she has plenty of time she can make her own sheets and 
pillow cases, and buy toweling by the yard to work with 
hemstitched ends, embroidered initials, etc., but as an 
economical proposition it is cheaper to buy them ready-made. 

For a family of two with one general servant, linen for 
three beds is usually needed and the ordinary allowance per 
bed is three pairs of sheets, and the same number of pillow 
cases, two comforters, a pair of heavy and a pair of light 
weight blankets and a counterpane. In most all families 
the bride falls heir to two or more old-fashioned quilts which 
come in very handy in warm weather. 

Buying table linen is always an interesting study. 
Breakfast cloths of cream soon wash white and wear well 
if whitening fluids are not used. If the dining room table 
is round, then buy round linen cloths, though the square 
ends are frequently used on round tables. Smooth linen 
means good stock. Unless you expect to entertain a great 
deal, one handsome tablecloth from three to four yards in 
length and twelve dinner napkins, three cloths of less qualit / 
and quantity with a dozen napkins will suffice for a begin- 
ning, for table linen is often among the gifts. Other little 
things that will come in handy for the table are embroidered 
covers for asbestos mats, table centers, doilies, side-board 
covers, etc., etc. 

There are numberless dress accessories that belong to 
the wedding outfit which are given in a later lesson. 

WEDDING ETIQUETTE. 

There is always a certain or fixed routine to be ob- 
served in all church weddings, though localism also governs 
many of the standard rules. 

All wedding invitations are sent out ten to fifteen days 
in advance and are issued in the name of the parents, if 
any, or a married or elder sister, a brother, a guardian, some 
one representing the head of the family, and the bride's 
family pay for these. 

Church weddings may be at 12 M, 3 P. M. or sometimes 
at 6 or 8 P. M. Evening weddings at churches are not as a 
rule considered good form. If the bride wears a traveling 
suit the groom accords; before 6 P. M. the groom never 

Page Twenty-One 



wears a full dress suit, but at six or after he does. The gray 
trousers, gloves and tie, white vest, black coat and tall hat 
are for weddings before 6 P. M. 

The groom sends bouquets to the bride, brides-maids, 
and flower girls ; he buys the wedding ring, presents his best 
man and ushers with a souvenir of the occasion and gives 
his bride a piece of jewerly that she wears at the wedding. 
The bride gives all her attendants a gift; some brides also 
provide their kid-gloves, an old custom. 

The bride rides to the church with her father or who- 
ever gives her away, but returns with the groom. 

The wedding procession at the church is arranged after 
custom and personal fancy ; one way much used has first the 
matron of honor ; after six ushers walking two by two, then 
six brides-maids in couples, two flower girls, scattering 
flowers, the bride with her father, her mother with a 
brother, the groom's father and mother. The groom and 
his best man meet the bride at the alter where the ceremony 
is performed. After the wedding there may or may not 
be a reception. 

Weddings at home may be at any time, usually 12 M., 6 
or 8 P. M. The procession is smaller and the function may 
be conducted with less ceremony and less expense than a 
church wedding if wished or if necessary. When receiving 
good wishes brides should be wished much joy — not con- 
gratulated — a common error. At a home wedding there is 
always a reception, even if small. 

The groom pays the clergyman's fee; the bride's fam- 
ily pays all other wedding expenses. Gifts are seldom 
shown, except to intimate friends. All gifts snould be ac- 
knowledged within a month of the wedding by the bride. 

When can be done so, the bride gives a luncheon or 
dinner to her attendants a few days before the ceremony 
and the groom a dinner to his best man and ushers. 

GRADUATION DRESSES. 
Commencement with all its functions, means quite a 
little outfit of summer dresses. Since a girl must get several 
fresh new frocks she should choose them so that she will 
be suitably dressed for all the different affairs she attends. 
Her dresses should be as varied in type as possible. If she 

Page Twenty-Two 



sees that this is so she will be better pleased with them com- 
mencement week and have more use for them later. 

Usually there is a full week given over to this occasion, 
and to be up-to-date one feels that she should not appear 
in the same gown at more than two functions. There is 
always the special Sunday service with its baccalaureate 
sermon, the class-day exercises, the graduation exercises, 
when the diploma is awarded, receptions, dinners, garden- 
parties, plays and concerts and for these different affairs 
there must be pretty dresses and hats. 

The graduation dress must be all white, of course, and 
should be simply made of lingerie materials exquisitely fine 
and trimmed with the finest lingerie materials such as silk- 
finished batiste, mull, the better grades of plain swiss and 
Persian lawn and organdy, cotton voile and marquisette. 
Embroidered flouncing is much used at present for the skirt 
part of a dress and when the waist is made peasant style 
of all-over embroidery with perhaps a few tucks over the 
shoulders, there remains little other trimming to give to it. 
For the other affairs and plays the all-white dress is not 
obligatory. You can use silks and satins and chiffons, if 
you like, or white and colors. For instance, you can make 
a dress of a fine mull flowered in some delicate color and use 
bands of a plain mull in the same color to finish the edges 
of the skirt and waist. For evening wear it should be short 
sleeves and low or French neck. The skirt may be made 
either with the round or raised waistline and with or with- 
out a slight train. One young girl I remember made one 
dress do for the entire week and yet few people recognized 
it as the same dress each time. The material was of soft 
silk-finished batiste trimmed in fine swiss embroidery and 
Valenciennes lace and made with an adjustable yoke, sleeves 
and tunic or overskirt. She wore this, void of the overskirt, 
over a slip of white for her graduation dress. The next 
evening at the Senior banquet, the same dress, void of yoke, 
sleeves and tunic, and worn over a slip of pink silk, was 
exquisite. On baccalaureate day the same dress again with 
high neck, overskirt, and long gloves, made its appearance 
but altogether changed. Her idea was, you see, to have one 
good dress rather than many poor quality ones. This dress 
could undergo more changes by having other colored 

Page Twenty-Three 



slips and these slips need not necessarily be made of silk 
but of a good quality of lawn. 

Embroidery in French knots, chain-stitch or cross-stitch 
takes comparatively little time and would be very effective. 
Hand-work is much in demand now-a-days and adds greatly 
to the value and beauty of a dress. 

In some schools and colleges there is a move to make the 
graduation class as a body a perfect picture. Before the 
graduation gowns are ordered there is held a conference 
called by the class president and the various details of the 
frock decided upon and agreed to be carried out by each 
member. For instance, the length of skirts, an important 
matter, is made uniform. That the skirts should be of uni- 
form length is of tremendous consequence if the class as a 
whole is to look its best. If a class is agreed that the gowns 
shall be lawn and lace rather than of better quality material, 
they should all be fashioned to escape the floor by about two 
or three inches. 

Another detail which should be carried out in unison" 
by the entire class is the length of the sleeves. Two or three 
pairs of short sleeves will appear absolutely out of place in 
a group, but if all are the same, the effect will be quite dif- 
ferent. The majority of afternoon gowns for mid-summer 
usually have elbow-length sleeves, so that a graduation 
frock, which should be planned for after-use, had best have 
the short sleeves. The matter of the dresses being high or 
low neck must also be decided upon. 

White canvas or satin slippers and sheer white stockings 
embroidered perhaps, but not open work, should be worn by 
the entire body of graduates, unless black slippers are voted 
for, in which case either patent leather or black suede or 
satin are equally in fashion. 

In some schools and colleges there is a move toward 
abolishing the fluffy graduation dress and adopting in its 
stead a little simple inexpensive uniform much like the 
sailor suit. The idea is to prevent undue extravagance in 
the way of new gowns, which is not only a tax on parents, 
but also productive of more or less jealousy and illfeeling 
on the part of those members whose parents cannot afford 
such luxuries. In other colleges, the seniors wear simple 
shirtwaist suits under their caps and gowns. 

Page Twenty-Four 



Another graduate which causes quite as much of a flut- 
ter when she graduates irom her high schools or boarding- 
school, as her elder sister does from college, is the sixteen to 
eighteen-year-old girl graduate. In fact, she is quite a 
superior person and to her mind her commencement dresses 
should approach something toward brocades and laces that 
would be suitable for her grandmother. Far better for her 
to have her clothes over-simple than over-elaborate, pro- 
vided they are dainty and fine. Elegant simplicity is the 
thing for her. Usually the commencement exercises for 
these girls require as many dresses as for a college com- 
mencement, for they, too, have their class suppers, bacca- 
laureate speakers, class-days and dances. Their graduation 
dress is always all white, and batiste, Persian lawns, mulls 
or Swisses, are suitable materials. A very pretty one is 
made of very fine white mull with a deep band of all-over 
eyelet work, also on mull, at the bottom of the skirt, and 
bands of the same embroidery on the waist. The skirt may 
have the raised waistline and be gathered at the top, yet at 
the same time be narrow, which is the style at the present 
time. The blouse has the peasant or kimono sleeve, the 
round French neck and short sleeves, so that with all its 
simplicity its style is good. Any amount of hand-work in 
the embroidery line may be used in white for graduation, 
or in colors for the other functions. 

There is still another graduate who must be taken into 
consideration and that is the summer-school graduate or 
grade-school graduate. She is the unsophisticated girl and 
her exercises are simple enough. There are a few songs 
sung and pieces spoken, in white frocks and white sashes, 
the principal makes a speech, and then it all ends. There 
are no class-days, no suppers, no parties and no dances. She 
will probably need only one dress for this great occasion, and 
it may be white or in colors. They are made very simple, 
for the little graduates are seldom more than thirteen to 
fifteen years old. They can use the same materials as men- 
tioned for their older sisters, mulls, Swisses, batistes, Per- 
sian lawns, dimities, cotton voiles and marquisettes and 
trimmed with laces, insertions, etc. in a simple and effective 
manner, or best of all, fine hand-embroidery done at home. 

There are a number of novel, dainty and smart acces- 

Page Twenty-Five 



series that belong to the sweet girl graduate but these will 
be given in a later lesson on "Dress Accessories." 

There are a number of schools and colleges whose girl 
graduates are making their own graduation dresses in their 
sewing classes, quite a number of which are using the Amer- 
ican System and a very large number of others are intro- 
ducing it into their sewing classes. 

The dresses mentioned for graduation purposes can be 
made in all-white materials and used for confirmation 
dresses. When they are meant for this purpose they should 
be kept very simple. White confirmation dresses are not 
used in all churches, or in all denominations, but where ft 
exists the custom of wearing all-white on this occasion is a 
very pretty one. 

DRESSES FOR MOURNING WEAR. 

Fortunately for our well being and happiness we are so 
constituted that we seldom give very much thought or atten- 
tion to the subject of mourning apparel until we are sud- 
denly confronted with the situation when we find it the only 
garb in which we care to appear. All who have to meet this 
problem, and certainly a problem it is, regard it as almost 
unsolvable. Perhaps the chief reason for this is that mourn- 
ing purchases are always hastily made since they are mat- 
ters of emergency, and because of this fact, and of the be- 
wilderment of sorrow at such times, the selection and pur- 
chase of the apparel is left largely to others and as a result, 
may or may not be becoming. Later when the grief has 
spent itself and the world appears less gloomy, the question 
again arises how to present a more acceptable and desirable 
appearance in the less becoming and possibly out-of-date 
styles — the mistakes of the earlier weeks. It is even more 
discouraging if the first purchases were made out of limited 
funds, for then the hope of re-modeling is in vain, as noth- 
ing looks quite so shabby as gray and poor black materials. 

Most every woman has one black gown in her wardrobe 
but it must be remembered that black is not always mourn- 
ing, notwithstanding the fact that all mourning is black. It 
is an erroneous impression that because one is clothed from 
head to foot in sombre black that the style and fit make little 
difference. There are certain rules laid down for those in 
mourning which are so simple and easily followed that one 

Page Twenty-Six 



cannot afford to make mistakes, for it certainly is a very 
bad form to break the general rules, which apply to all selec- 
tions, whether of gowns, wraps or hats. Especially does this 
apply to those who are accustomed to follow closely the dic- 
tates of fashion on all occasions. 

The deepest mourning is that worn by a widow for her 
husband. She should wear deep mourning for a year or 
eighteen months. During that time she wears dull, lustre- 
less materials, preferably henrietta, cashmere, nun's veiling, 
serge and the armure and taffeta silks. She should wear a 
small bonnet or toque of black crepe and if she prefers, with 
a ruching of white crepe next to the face. The crepe veil is 
attached to the back of the hat and is no longer worn over 
the face. In second mourning a veil of silk grenadine edged 
with folds of crepe is substituted for the crepe veil. Also 
in second mourning a widow lays aside crepe, but wears dull 
finished materials for six months or a year. Many widows 
wear second mourning the rest of their lives, it being an old- 
time custom, but this custom no longer obtains unless one 
prefers to follow it. 

Widows' gowns should be made as simply but as hand- 
somely as her means will permit. That is, the materials 
should be the very best that she can afford, and the gowns 
made almost severe in their simplicity. As before stated, 
the dull cloth materials are the best for deepest mourning 
and crepe can be used as a trimming in the way of bias bands 
and folds. It can be used in bands and berthas on waists 
or as yokes and chemisettes. It can be used as collar facings 
on coats and coat dresses, as pipings or bands at the top of 
plaited flounces. It can be used as the underskirt under a 
tunic or overskirt, or as a band trimming on the tunic itself. 
Girdles and oversleeves are made of it and of course, one 
depends on it for the minor things, buttons, garnitures, etc. 
It is rather expensive and in former years was exceedingly 
perishable as the least dampness would practically ruin it. 
This objection, however, has been overcome by the manu- 
facturers who were quick to see the limitations to which this 
material was subjected, by applying the cravenetting pro- 
cess, which makes it absolutely waterproof and color-fast. 

Crepe is now prepared in three qualities or rather in 
three kinds of finish, the soft, half-soft and stiff variety. 

Page Twenty- Seven 



The two former are easily handled and make a rich drapery 
effect when used in large spaces, while the latter is used for 
folds and bands for which purpose it is more practical and 
suitable. 

To get the most satisfactory results in crepe, it is im- 
perative that it shall be made right side out. There is such 
little difference that it is hardly distinguishable to the in- 
experienced eye. In order to get the right side out in each 
piece, it would be well to make a mark of some kind in 
several places before the material is cut. First ascertain 
which is the right side by laying the crepe flat on a table 
with one selvage parallel to the edge of the table ; the crinkle 
should then run from the left hand down toward the right. 
Make several marks with fine white thread along at intervals 
and then after the material is cut into the different pieces, 
there will be little or no difficulty in putting them together so 
that same side will be out in each piece. All goods except 
crepe are cut on the bias for folds, cords or bands. Crepe is 
usually cut across the width from selvage to selvage in order 
that the crinkles may run bias. If cut on the bias the crinkle 
would run straight across. 

Widows for first and second mourning wear deep cuffs 
and collars of very sheer white organdy or of white crepe. 
The organdy cuffs and collars are never hemstitched and 
are very rarely even hemmed. The hems are simply folded 
and pressed in position and the cuffs and collars are basted 
to pieces of black crinoline or buckram cut to fit the neck 
and wrists. The hems are placed between the buckram and 
the cuffs. The stiffening keeps the organdy from becoming 
mussed and makes the cuffs and collars set more neatly than 
they would without it. The cuffs are about four and one- 
half inches deep when finished. They can be sewed together 
at their back edges with small pearl buttons, no buttonholes 
being necessary. The depth of collar will depend on the 
neck. It is usually two inches deep, finished with a hem 
three-quarters of an inch deep. 

The white crepe sets are sometimes made of bias folds 
of the crepe fagotted together or used at the edges of tucked 
lawn or net cuffs and collars. These can be cleaned with 
gasoline, which is quite fortunate, for as before stated, crepe 
is somewhat expensive. The organdy, however, can be pur- 
Page Twenty-Eight 



chased in good qualities for one dollar a yard and as it is 
almost two yards wide, a number of sets can be made from 
a half-yard. 

In making mourning gowns avoid extremes of pre- 
vailing styles because of the changes in the passing months 
and because of the fact that one usually prefers to appear 
modestly enough gowned not to attract undue attention. 
The tailored suit for street wear is one of the first in the 
outfit as it is in every wardrobe. It should be made of dull- 
finished serge or broadcloth. There is also a heavy-weight 
henrietta cloth that is frequently used for suit making. For 
house wear or receiving gown, the soft cashmeres, serges 
and henrietta cloth are good selections. If something hand- 
some is required, jet-finished silk voiles or marquisettes are 
soft and very beautiful. For trimmings, besides the crepe 
folds already mentioned, there are various sorts of fringes ; 
one crinkled kind comes especially for mourning wear as 
well as dull jet beads. These dull jets are used a great deal 
in banding, also. Hand-work of all kinds is a very great 
favorite and always in good taste when well done. 

Among the other accessories adaptable to mourning are 
suede gloves and dull kid shoes and face veils of grenadine 
or net bordered with black grosgrain ribbon or crepe about 
an inch wide. Colored jewelry is never worn but one may 
wear diamonds, pearls, black enamel cuff pins, gun-metal 
belt buckles, the lorgnon or long neck chains made of oval- 
shaped beads, but no gold, silver, or colored jewels. Even 
any hair ornaments worn should be of dull jet or cut jet. 
Black bordered handkerchiefs are not used as much as 
formerly and the ones that are in use nave very narrow 
borders. The best form in mourning stationery is a narrow 
black border on cards or note paper. 

In the selection of mourning millinery the same rule 
obtains as in the making of costumes; that is, the extreme 
prevailing styles must not be adhered to too closely. They 
should be simply trimmed, although the materials may be 
rich in quality and elaborate in workmanship. Ornaments 
are very sparingly used and should always be of dull fin- 
ished jet or enamel, or should be crepe-covered. In mater- 
ials for trimming, use only the water-proofed varieties. 
They begin with crepe for deep mourning, and are followed 

Page Twenty-Nine 



by chiffon, crepe-chiffon, malines, dull taffeta, and uncut 
velvet. The latter should not be used very profusely, how- 
ever. Felt may be used also. There are only a few selec- 
tions in the way of trimming accessories, such as wings, 
quills, coque-feathers and these must be of the full finish. 
Roses made of ribbon or silk combine very beautifully with 
the full effects and are exceedingly durable. The trimming 
should be compact and above all things, put on in a neat and 
careful manner. 

The mourning worn by a mother for a grown daughter, 
or by a grown daughter for a parent, is practically the same 
as that worn by a widow, except that a hat replaces the 
bonnet, and the cuffs and the collar are not as deep as those 
worn by a widow. Deep mourning is worn for six months 
or a year, lighter mourning for the succeeding six months of 
the year. For a young child the period of mourning can 
be shortened. 

A young girl wearing mourning for a parent does not 
wear a crepe veil and she may or may not wear crepe on 
her dresses. She generally wears deep black for a year and 
lighter mourning for six months. All white, especially for 
young girls, is considered full mourning though it is not as 
deep as black. White cashmeres, poplins, and wool batistes 
are used for house dresses. White serge and cheviot, linen, 
cotton bastiste and organdy, or any plain finished white 
materials constitute white summer mourning. No lingerie 
or embroidered materials are used and the mourning char- 
acter of white winter dresses can be emphasized by white 
crepe. 

For a brother or sister full mourning is worn for a 
year, though it is not so deep as for a parent. The mourn- 
ing that is worn for grandparents, aunts and uncles, is more 
or less complimentary and the period is from three to six 
months. This, as well as the mourning for cousins and in- 
laws, is governed by the degree of intimacy that exists. In 
this connection some women, especially in small towns, sub- 
ject themselves to criticism in the matter of mourning for 
relatives-in-law. A wife should by all means wear mourn- 
ing for her husband's parents, brothers and sisters though 
not so deep as for her own or for so long a period. 

Mourning should always be dignified and inconspic- 
Page Thirty 



uous. It means a withdrawal from society and no formal 
entertaining or visiting is done throughout its duration. 
Visits of condolence are received and after six months one 
can go out to entertainments, receptions, etc. if she prefers. 
Flowers and letters of sympathy should be acknowledged as 
soon as possible. 

Mourning is never emphasized with a man as it is with 
a woman. He wears a deep band of crepe on a derby, straw 
or high hat for six months or a year after he becomes a 
widower. He should not go out into society for six months 
and he should wear black for a year. As so many American 
men do not wear mourning at all there can hardly be said 
to be any general custom in regard to it. 

Below are the general rules governing the length of 
time one should wear mourning: 

Widow for husband — Crepe for one year. Second 
mourning for one year. 

Mother for son or daughter — Crepe for six months. 
Black for three months. Half-mourning for three months. 

Daughter for parent — Crepe for six months. Black 
for three months. Half -mourning for three months. 

Sister for brother or sister — Crepe for three months. 
Black for two months. Half -mourning for one month. 

Granddaughter for grandparent — Crepe for two 
months. Black for two months. Half-mourning for two 
months. 



QUESTIONS. 

1. (a) Name some special Avardrobes appropriate for different 
occasions, (b) Name some of the most essential articles in a travel- 
ing outfit. 

2. (a) For a western trip what will be needed for the traveling 
suit and accessories? (b) After reaching your destination? (c) For 
climbing the mountains? (d) For other occasions? 

3. (a) For a southern trip what wearing apparel should be taken 
for the journey? (b) For morning wear if visiting relatives or 
friends? (c) For teas, receptions, etc., and from what materials made? 

4. (a) How may an afternoon gown be made to serve for evening 
wear also? (b) What materials are appropriate for evening wear? 

5. (a) What materials combine admirably with satin for evening 
wear and what sort of trimming is especially adapted to all-black and 

Page Thirty-One 



all-white gowns, (b) Name some of tlie less expensive materials for 
evening wear and tell how the trimming for them may be obtained, 
(c) What kind of a coat will serve both for afternoon and evening 
wear? 

6. (a) Name baggage needed for a trip abroad, (b) Describe 
what are necessary in the way of wraps on board the ship. 

7. (a) Describe an appropriate outfit while en route on train and 
on board ship; a suitable waist to wear with it. (b) Garments for 
on deck and evening wear. 

8. (a) In a bathing costume what should one guard against? 
(b) Tell what is suitable in colors for the suit, trimming and ma- 
terials. 

9. (a) Describe one of the styles given in the lesson, (b) Des- 
cribe the scarf head-dress for bathing, (c) What other accessories 
are needed? 

10. (a) What is of utmost importance in making dresses for 
costume parties and how may it be attained? (b) Name at least three 
popular impersonations, (c) Describe costume of one of them. 

11. (a) Why is it unwise to provide too many clothes for a wed- 
ding trouseau? (b) What are the main points to be considered? 

12. (a) Describe the wedding veil, the draping, etc. (b) De- 
scribe a going-away suit for practical wear. 

13. (a) What is appropriate for evening wear? (b) Formal oc- 
casions? (c) Semi-formal affairs? (d) Morning wear for visiting? 

14. (a) Name other garments needed for outside wear on your 
trip and at home, (b) What articles of underwear will be needed, 
how many of each and of what material are they made? (c) What 
will be needed in the way of corsets and hats? 

15. W^hat should be provided in the way of linens for the house- 
hold? 

16. (a) Describe fully a graduation dress, (b) A dress for con- 
certs and other functions, (c) How may one dress be made to serve 
for all occasions? (d) What points are to be considered in carrying 
out the unison of the graduation class? 

17. (a) What is appropriate for first and second mourning for 
a widow? (b) In making her gowns what are the two main points 
to consider? 

18. (a) How and where may crepe be used? (b) How is the 
right side of crepe determined? (c) How are bands rrom it cut? 

19. (a) Of what material beside black crepe may collar and cuff 
sets be made for a widow? (b) What should be avoided in making 
mourning gowns and why? (c) What are the materials of which they 
are made? (d) Name some mourning accessories. 

20. (a) What points should be considered in selecting mourning 
millinery? (b) What mourning is worn by a mother for a grown 
daughter and how long? (c) A daughter for a parent? (d) For a 
brother or sister? 

Page Thirty-Two 



THE 

AMERICAN SYSTEM 

OF DRESSMAKING 



A Course of 

Instruction by Mail 

in the 

Science and Art 

of 

Successful 

Dressmaking 

And Ladies' Tailoring 



Lesson No. 20 



The American College of Dressmaking 

(Associated Training Schools, Proprietors. ) 

KANSAS CITY, MO., U. S. A. 



Copyrighted 1906, 1907, 1908 and 1909 
by J. M. Stelle 

Copyrighted 1910 and 1911 
h^ Associated Training Schools 



j^ll rights reserved. 



T^rinted in the United States. 



American ^p^ttm 

TAUGHT ONLY BY THE 

atneritan College of ©ressmafeing 
Hansas Citp, JHo. 

Miss Pearl Merwin, Supervisor. 

Lesson No. 20 

EMBROIDERY STITCHES MOST COMMONLY USED 
IN DRESS DECORATION. 

Probablj^ there never has been a greater craze for all 
sorts of handwork than at the present time. Women the 
world over are becoming more enlightened every day, not 
only as to the economy of making their own clothes but in 
supplying the dainty trimming touches for them. 

There is such a variety of handwork used and a num- 
ber of the stitches employed in garment decoration are so 
simple and quickly made that one will feel well repaid for 
her work no matter how limited her time. No woman 
should consider her dress complete nowadays without at 
least some dainty embroidered blouses, dress accessories 
and pretty tub waists and dresses bearing evidence of her 
own skillful fingers and good taste. 

One is aided in her handwork by the transfer patterns, 
as they are very inexpensive and much more easily used 
than the old way of stamping with powder, paste or paint 
and may be purchased from a large number of the publishers 
of fashion magazines and the makers of garment patterns 
or the firms who handle them. They are made even for the 
simplest stitches. Full directions are given on the outside 
of the transfer pattern envelope, appropriate stitches for 
same, also the amount of material required, etc. The de- 
Page Three 




Pig. 367. 



signs may be cut in sections and only a part used, or several 
may be combined to suit one's taste. 

These transfer patterns come in blue, yellow, green, etc., 
therefore, in purchasing them ask for the color which will 
make a clear outline on the material to which it is to be 

transferred. The trans- 
ferring is done by the 
heat of an iron. It is 
important that the tem- 
perature is right. For 
the purpose of testing it 
before using the regular 
pattern, you will find a 
specimen sheet enclosed 
with the transfer pat- 
tern. (See Fig. 367). 
In fact, the secret of 
the success of obtaining a satisfactory transfer lies in get- 
ting the right heat for the iron. The yellow transfer re- 
quires an iron little if any more than luke warm. The re- 
sult is a brilliant yellow outline on the surface only. A very 
hot iron changes the color to a dull green. In stamping on 
flannel or woolen goods care should be used in not having 
too hot an iron, to avoid scorching the material. 

To remove a blue stamping outline in case any should 
show after embroidering or braiding use naptha soap and 
cold water for cotton and linen materials and benzine for 
silks and woolens. To remove a yellow outline, green, etc. 
from cotton or linen rub the fabric with a pure soap and 
boil, and for silk or wool use some cleaning fluid. 

It would be hard to enumerate the different kinds of 
stitches there are in embroidery, nor is it our purpose to 
cover them, but only to describe in detail those most com- 
monly used in the decoration of gowns and dress accessories 
such as the outline or stem-stitch, couched outline, feather- 
stitch, ordinary chain-stitch, double chain, twisted chain- 
stitch, split-stitch, buttonholing, Wallachian stitch, 
cross-stitch, seeding or dot-stitch, lazy daisy or bird's-eye- 
stitch, French knot, darning-stitch, fagotting, long and 
short, satin-stitch, French stem-stitch, flat, overcast, 
back, arrow-head, wheat, German knot, braid, twisted run- 
Page Four 




ning-stitch, eyelet, honeycomb, triangular buttonholing- 
stitch, cat or lattice-stitch, damask-stitch, twisted bars, 
woven spider web, ribbed wheel, Bermuda fagotting, and 
Roumanian embroidery. The last ten of these will be 
explained and illustrated in the American Dressmaker. 

Some persons comprehend a stitch quicker by looking 
at a diagram while others find a few words of explanation a 
great help, therefore to make sure we will use both methods 
and in many instances give an illustration of the finished 
work as applied to dress decoration, either m this or a suc- 
ceeding lesson. 

The Outline or Stem-Stitch is perhaps the simplest of 
the art stitches. (See Fig. 368). Never 
knot the thread preparatory to em- 
broidering; instead take two or three 
running stitches in the opposite direction 
from which you intend working. These 
stitches being immediately worked over, 
the end of the thread is thus secured. "^fis. sss. 
Outline-stitch is worked from left to right, or from you, 
therefore, with these beginning stitches running from right 
to left, bring the needle out on the right side of the material 
at the beginning of the line. Where the outline is straight 
or nearly so, the thread may be thrown either to the right 
or to the left, but so long as the direction of the outline is 
not changed it is imperative to bring the needle out on the 
same side of the thread so that the line will not be broken. 
Also, on a straight or slightly curved line the stitches must 
be uniform in length, m decided curves the thread should 
be thrown to follow the curve and smaller stitches are re- 
quired. 

The length of the stitch in outline work is regulated by 
the materials. For fine silk or cotton one-eighth of an inch 
or less will be used while for rope silk or heavy cotton three- 
eighths of an inch may not seem too long. Put the needle 
downwards at the desired length of a stitch from the start- 
ing point, on the outline through the material bringing it up 
again in a back-stitch about half as long as the forward 
stitch. The needle is brought up with the point toward you 
either at the end of the last stitch, or close beside it, a short 
distance beyond its end — the former for the lighter outline 

Page Five 




and the latter for the heavier. When a point is reached put 
the needle down through the middle of the last stitch and 
bring the needle up at the point, which will be the end of 
the last stitch made, and proceed as before. 

The Couching-Stitch is a small over-stitch used in hold- 
ing a heavy thread or cord, such as coronation, or rat-tail 
braid, gold thread, rope silk, etc. 
(See Fig. 368-A). They are laid on 
the outline to be followed and caught 
in place at regular intervals by fine 
Fig. 368-A. over-stitches. These stitches must 

never be so far apart as to permit the cord to spring out of 
position and on a curve must be more numerous than on a 
straight line. One stitch at intervals of one-fourth inch is 
enough. An unbroken line can thus be obtained and a cord 
or a group of threads used which would not be practical 
for through and through stitching. 

Several threads may be applied in this way and held 
in place by one series of over-stitches. Contrasting color? 
are generally used for the couched and attaching thread, or 
at least a shade's difference between the two and if the 
former is composed of three or more strands, it is well to 
twist it slightly as it is couched down, so that a single thread 
may not be so liable to be accidently pulled and the whole 
length of stitches ruffled. This is a useful form of embroid- 
ery and very effective when a pretty design is used. 

For dress ornamentation there is nothing that will give 
more really satisfactory results for the amount of time ex- 
pended than coronation braid. It may be had both in white 
and colors. The braid is often combined with embroidery 
stitches such as the satin-stitch and French knot. A touch 
of color on white is the fad at present and in these dainty 
bits of color many lovely effects are gained. 

When starting, finishing or joining a piece of corona- 
tion cord, punch a hole with a stiletto just large enough to 
draw the end of the cord through to the wrong side and 
fasten neatly in place. To iron garments trimmed in it, 
place the braided portion right side down on a Turkish 
towel or soft press board and the result will be most satis- 
factory. 

Feather or Brier-Stitching is made in various forms 

Page Six 




Fig. 369. 



some of which are the herringbone and single and double 
coral-stitch. The herringbone is shown in Fig. 369 and is 
made by bringing the thread up through the material and 
-,,_ taking a short slanting stitch in the op- 

posite direction so that the needle will 
come up over the thread, which is held 
down by the thumb of the left hand. 
(See Fig. 369). The stitches are taken 
toward you first to the left and then to 
the right, bringing the needle up each 
time so that the thread will be held down 
a little less than one-third the length of 
the loop. It is simply a surface button- 
holing. 

The Coral-Stitch is not so angular as 
the one just described. The single coral 
is shown in Fig. 370. To make, bring the needle up, take 
the thumb of the left hand and hold the thread in a loop 
upon the cloth. Insert the 
needle directly opposite the 
point where it was first 
brought up and bring it out 
in the middle of the held 
loop and over it. Repeat by 
taking the stitches alter- 
nately to the right and left, 
making the stitches so that 
the first half and last half 
of each loop will be parallel 
with each other. 

The double-coral is made 
Fig. 370. by having two stitches on 
each side in succession instead of one. 

The stitch may be broadened by making three stitches 
in succession instead of two. (See Fig. 371) . This finish is 
exceedingly pretty on tub dresses for adult's and children's 
dresses done in white or colored thread, and instead of 
following the hem at the bottom of skirt, it may be made in 
points and increasing the width by making sufficient stitches 
so that the slant will be from an inch and a half to three 
inches. 





Fig. 371. 



Page Seven 



The beauty of the feather-stitching depends upon the 
uniformity of the stitches and the spaces between them. In 
making these stitches j ust described the best results will be 
obtained by using a twisted thread in the silk the weight 
used for the border of centerpieces and doilies. The san- 
silk, mercerized cotton or lustre floss are suitable for wash 
materials, and will stand up from the fabric and show 
to good advantage and not beat down in laundering as a 
softer thread would do. If you are not already an adept, 
practice until you have trained the eye to exactness and 
precision. 




Pig. 372. Fis. 374. 

Feather-stitching may be applied between rows of tucks 
in a waist, or it may be worked in a serpentine line with 
embroidered dots as shown in Fig. 372. Another effective 
way of using the feather-stitching is in the overlapped 
circles as shown in Fig. 373. They may be marked with a 
quarter, half dollar piece or any size desired and according 
to the purpose for which they are used. These interlaced 
circles may be used in wide spaces between tucks at the bot- 

Page Eight . _^ 




torn of a skirt, down the front of a waist, around the sleeves 
above the cuffs, on plaits and belt, also on the collar and cuffs. 

Still another way of making a feather-stitch is given 
in Fig. 374, which is called the vine-stitch. 

Chain-Stitch is one of the simplest forms of outline 
stitches. It is worked toward you. Secure the thread as 
described in the first part of this article, then with the 
thread on the right side of material, which is held 
over the finger, hold the thread down with the left 
thumb and insert the needle at the same point 
where stitch began. Thus the thread is formed 
in a loop. Bring the needle up on stamped line 
inside of loop and draw through. Each succes- 
sive stitch is made in the same manner, always 
inserting needle in the last chain-stitch made. 
(See Fig. 375) . A uniform stitch should be 
Fis. 375. maintained throughout. The length of the stitch 
will depend upon materials employed. 

Chain-stitching may be used to take the place of 
soutache braid, or cord, in the decoration of garments for 
all occasions. It is a pretty stitch to use on bands, the 
work being carried out in a harmonious combination of 
colors. 

Double Chain-Stitch is a variation 
of the common chain. (See Fig. 376). 
It somewhat resembles two rows of single 
chain worked side by side. The execution, 
however, is not the same. First work an r 
ordinary chain-stitch and into this an- / ^ 
other one, placing it a little to the left of / / 
the first. Next, insert the needle a second •' ,' 
time into the center of the first chain loop ', i *; 
and bring it out in the usual way below, \ \ 
but on the right-hand side. For the fourth \\ 
stitch, throw the needle around to the left 
and insert the needle in the center of the 
second chain loop, to the left of the thread 
already merging from that point and pull it through 
straight beneath. This stage is illustrated by the needle 
at work in the diagram. The process just described is re- 
Page Nine 




Pig. 376. 



peated alternately upon either side of the form to be cov- 
ered. This stitch is useful for border lines, wide stems, 
petals and other forms. Its open character, besides making 
it light and pretty, makes it cover the surface quickly. The 
more loosely the stitch is taken and the looser the floss with 
which it is. worked the more it would appear like double 
rows of chain-stitching. 

The Twisted Chain-Stitch, shown in Fig. 377, forms a 

good outlining for designs on coarse materials worked in 

heavy thread. It is worked in the same manner as ordinary 

chain outside of the loop instead of 

through it. It may be either to the 

left-hand side of the loop, as shown 

in Fig. 377 or to the right, but one 

way should be employed throughout 

the design as far as possible. In case 

of curves, however, it should be 

changed so that the overstitch will 

come on the convex side of a curve. 
The Split-Stitch in loose twisted 

floss resembles the chain-stitch, (See 

Fig. 378). It is executed by taking 

first a long straight stitch, as in the ^^^' ^^^- *"'»• ^'^^■ 

ordinary back-stitch; then the next stitch is taken down 

through the middle of the thread. 

A Twisted Running-Stitch, which is illus- 
trated in Fig. 379 consists of two threads, — 
first a line of running stitches over which the 
second thread is taken, the needle passed under 
each stitch in succession. The thread is drawn 
according to the prominence of the twist de- 
sired. 

Buttonholing is worked from left to 
right along the surface of the material. Scal- 
loping may be done flat, but the padding makes 
the work more effective and then too the raised 
work is more durable. At any rate, the margin 
must be closely run before working, which may 
be done either by hand or on the machine. To 

pad use several rows of the simple outline or the running 

stitch in the opposite ' direction from which the button- 
Page Ten 






Fig. 380. 



holing is to be done. (See Fig. 380). (The chain-stitch is 
a very practical padding stitch also as it fills in quicker 
than any. One row of the chain-stitch in a narrow space 
is usually ample) . Hold the work so that the stitches are 
always upright, with the purl edge of the scallop toward 
you. Insert the needle and bring it up just outside the 
stamped outline. With material over forefinger of left 
hand, and the thread held down with left thumb, insert the 
needle at starting point and take stitch, bringing the needle 
up over the thread. (See Fig. 380). But- 
tonholing should always be carefully done in 
a scallop, each stitch being placed as close to- 
gether as possible, to give the effect of a solid 
mass of stitches. Scalloped edges contribute 
a dainty touch to the front edges of blouses 
whether made of wash, silk or light woolen materials and 
where no other trimming is used the buttonholing is es- 
pecially attractive. If used on silk or woolen materials a 
medium weight silk floss will be necessary to embroidery it. 
If the scallops are worked on linen or wash material use 
the mercerized or lustre floss and pad before working. The 
article should first be washed before cutting the surplus 
material away. 

The Wallachian Stitch is a very popular form of em- 
broidery although it is not a new stitch at all, but simply 
our buttonhole stitch used in a manner characteristic of 
the artistic needlework of the peasants of Wallachia. 

The stitches are placed so that the purled edge comes on 
the outside of the leaf, petal or eyelet and the other edges 
of the stitch meet in the center. In working an eylet the 
inner circle should first be run and material punched in the 
center with a stiletto after which the buttonholing is done 
as shown in Fig. 380. In the leaf or petal 
forms the stitches are taken on the slant, 
(see Fig. 381), and the junction of the 
stitches in the middle forms the vein. Rather 
heavy thread is most effective in this work 
and for filling in large designs it is invalu- 
able as it covers so much space in so little 
time. Fig. 382 shows a collar and cuff set 
in the Wallachian stitch. The stems in this 




FlK. 381. 



Pag-*^ Elevn 



design are worked in the French stem or satin-stitch, which 
will be described soon. 

A Cross-Stitch is formed by two diagonal stitches. This 
stitch was formerly employed only on materials of heavy 
weave so that the stitch might be made even by following 
the threads of the material, but now cross-stitch is used on 
voiles, marquisette, chiffon or any other light weight and 
dainty fabric. There are two ways of working cross-stitch- 
ing on such materials as those just referred to the newest 
one of which is by means of the transfer design. When the 

m a t e r ia 1 is 
very sheer or 
t r a nsparent ; 
baste a piece 
of tissue paper 
on the wrong- 
side before the 
design is 
stamped on 
the outside. 
This keeps the 
design clear. 
The stitches 
are then taken 
through both 
material and 
paper. When 
the work i s 

completed, the tissue paper is torn away underneath. For 
the amateur at least it is best to work cross-stitching over 
embroidery hoops or a large frame so there will be no 
danger of drawing the material in the working. 

The second method of cross-stitch- 
ing on the new materials is by having 
a piece of regular cross-stitch canvas 
basted over the material and working 
the stitches over the canvas by counting 
the squares. (See Fig. 383). After 
the work is completed the canvas ms. sss. 

threads are drawn out one by one until the work is left di- 
rectly on the material. 

Page Twelve , < 




Fls. 382. 




Cross-stitch is used more or less all the time for dress 
decoration such as waists, trimming bands, hand-bags, 
aprons, etc. 

In selecting heavy materials upon which to work cross- 
stitch avoid coarse or very open mesh as the threads are 
apt to be uneven and will make an irregular stitch. Any 
heavy weight materials with even threads or with checks 
may be used and will serve as a guide by which the stitches 
may be set such as heavy linen, scrim, checked gingham, 
dimity, etc. For fabrics which serve no guide for the 
stitches, use the methods already described. 

A blunt, long-eyed tapestry needle will be found the 
most practical for cross-stitching, as it is not so apt to catch 
in the thread of the material. The colored or white linen 
or mercerized thread that comes in small skeins or balls is 
the best on wash fabrics for lingerie wear. The linen floss 
comes in different sizes. Two or three shades of any color 
combined with black is always effective on white, cream or 
ecru backgrounds. If the colors are boiled in strong salt 

and water before they are 
used there is no fear of their 
fading in subsequent launder- 
.., ing. The mercerized thread 

may also be used on silks and 
' woolens. The fine chenille is 

sometimes used very effective- 
, J ; ^^ ^s, ly on the last fabrics men- 

■ ' ■ tioned. 

To make the stitch, begin 
by fastening the thread on the 
under side of the material at 
the lower right-hand corner of 
a square and draw the needle 
i through to the right side, in- 

' I J 4" .J, serting it at the upper left- 

hand corner. Insert the needle 
at the upper right-hand cor- 
ner and brmg it out at the up- 
4 per left-hand corner of the 

succeeding square in the de- 
Pig^ 384_ sign. Fig. 384 shows an ef- 

Page Thirteen 




^1.^. 



fective design in this stitch for a waist front to be worked 
in different colors. 

A helpful suggestion when working long lines in one 
color is to work the first half of each cross all the way 
across and then return. It will be found that the work can 
be accomplished almost twice as quickly by using this 
method than to take time to complete each stitch before pro- 
ceeding to the next. 

In working out a flower design in cross-stitch where a 
heavier effect than an outline is desired a rather pleasing 
development is to have some leaves worked solid and to 
work two extra rows on the upper part of each petal of the 
flowers. 

Fig. 385 shows the Double Cross-Stitch. If worked in 
one color proceed as for the single cross, only when making 
the second stitch instead of going forward go backward to 
the center of the lower line, bringing the needle to the right 
side, make a second cross-stitch over the first as indicated 
in the illustration. Very often in the 
" double cross-stitch the second cross is of 
a shade or two lighter than the first or 
a contrasting shade. 

'ine Seed or Dot-Stitch is nothing 
Pig. 385. more nor less than a tiny back-stitch 

y""^"^ taken at regular mtervals in rows, each 

.'//^-"o" /^^ stitch alternating with the stitches in 
• I - o • J the previous row. (See Fig. 386) . The 
* " \ " " * / chief beauty of the work is in its regu- 
J larity and evenness. It may be used to 
^ great advantage combined with satin- 
Fig. 386. stitch — one-half of a leaf in satin-stitch 
and the other half in seeding. When ribbon or bow knots 
appear in an embroidery design they are frequently filled in 
with the dot stitch, the edges being outlined. 

The Bird's-eye-Stitch or Lazy Daisy may be arranged 
to represent either blossom or leaves. It is a variation of the 
ordinary buttonhole-stitch. The thread is brought up to 
the right side of the material at the center end of the daisy 
petal, then the needle brought out at the point of the petal 
over the thread and the loop held down with a tiny stitch. 

Page Fourteen 





(See Fig. 387). Another^ 
way is to bring the'* 
stitches up a uniform dis- 
tance from the center 
which space is filled in in 
satin-stitch or French 
knots. The bird's-eye blos- 
soms may be made singly, 
or in rows, or they are 
very effective scattered v 
over an open space in ir- pj^ ggy 

regular groups of from 

two to five with about three inches space between the groups 
and may be made in two or three shades of the same color. 
The groups are pretty connected by a waving or serpentine 
line of feather-stitching. 

The bird's-eye blossoms worked with knitting wool on 
flannel or cashmere with the centers worked in French 

knots with silk are quite 
pleasing. White wool petals 
J and yellow centers suggest 
I daisies, or small blossoms 
I worked in blue wool do not 
i require a great stretch of the 
I imagination to pass for for- 
I get-me-nots. 

I The dainty vine ' medallion 

I shown in Fig. 388 made from 
I this stitch may be used with 
.;--—:—=— ---Sir;-— —;^^ good results on underwear or 

Pig. 388. lingerie dresses. 

The French Knot is perhaps the most familiar and most 
useful one of the group known as knotted stitches and 
forms pretty variations when used in connection with other 
stitches. Quite an ordinary fault in the average French 
knot is the fact that the knot does not lie close to the fabric. 
To be satisfactory, knots must be neatly and firmly made, 
otherwise they will move out of place and be loose and ir- 
regular. A close-lying knot and one that it is impossible to 
rip out is made as follows. Bring the needle to the right 
side with the full length of thread. Then hold thread be- 

Page Fifteen 





tween thumb and fore-finger of the left hand, about an inch 
from where it comes through the material. Slip the needle 
underneath, pointing toward you, make one complete turn 
of the thread around the needle and put the needle in the 
material close to where it was brought out. Draw the thread 
up on the needle holding it down to the surface of the cloth 
and send the needle all the way through. 

Another knot that is similarly made is 
shown in Fig. 389. Draw the thread through 
the material from the wrong side; with the 
left hand hold the thread about an inch from 
where it came out; twist the needle two or 
three times around the thread and insert it 
Fig. 389. close to where it came out. Draw the twist 
down to the surface fairly tight and hold firmly in place 
while drawing the thread through rather tightly though not 
to the straining point. The little stitch thus taken serves to 
hold the knot in place and for greater durability another 
tiny stitch may be taken opposite to this over the twists of 
the knot, making what is called a "washable" knot. The 
less permanent knot is quite suitable for use where the 
article is not to be laundered. The size of the knot depends 
upon the number of times the thread is wound around the 
needle and the size of the thread. Thread about the weight 
of knitting silk is the most commonly used. They are most 
frequently used massed together as in the centers of flow- 
ers. Detached knots are very valuable for decorative pur- 
poses. A row of them, separated each from the other by the 
space occupied by one — or a little more — makes a pretty 
finish around the outside of a solidly worked leaf, or upon 
the inner side of border lines or semi-open fillings. 

One of the most effective ways to embroider summer 
waists is that in French knots to simulate beads. In making 
them, use either method described in this lesson. If small 
knots are wished make by first method, but if larger ones, 
use the last and in this case take the final stitch across the 
twists of the knots so that they will launder well. The im- 
portant point is to remember to keep the knots in straight 
rows and evenly spaced. Sometimes the knots are placed 
very close together; this of course requires a great deal of 

Page Sixteen 



work. As a rule the distance between the stitches is about 
the size of a stitch. 

In case there is to be a space show between the stitches, 
do not stamp the design on the material or you will have 
some of the stamped lines showing. If the material is sheer 
there will be no difficulty in following the design if the 
transfer is basted under the material. In case the material 
is opaque, however, lay the design over it and when taking 
the stitches work through both material and paper and tear 
away the paper when the work is completed. If the transfer 
is used under the material, take the stitches through the 
material only. This method is preferable when possible. 

Darning-Stitch is one of the simplest stitches. It is 
nothing more or less than a running stitch made usually in 
parallel rows, and ordinarily the stitches are taken so that 
^_^ ._^ ^_^ ^_^ those in the last row will come 
directly opposite the stitches in 
X^ the row just before. (See Fig. 

Fig. 390. 390) . Material with a distinct 

weave will be a good guide when working this stitch it 
being made over a certain number of threads. 

If the material has no distinct weave such as satin, 
cashmere, etc., only prac- 
tice will make perfect in 
this embroidery. 

Darning-stitch is used to 
fill in space and is at pres- 
ent shown on a great many 
imported gowns. It is very effective. Many designs are 
worked up in beads and darning-stitch. 

Pattern darning is 
suitable for motifs for 
dress decoration o r 
bands as shown in 
Fig. 391. The detail 
of the stitch is clearly 
depicted in Fig. 392. 
It is done by picking 
up the threads of the 
ground i n regular 
succession outside of the stamped lines of the pattern, 

Page Seventeen 




FIs. 391. 




Fig. 392. 



which brings out the design. When the background is 
filled in the design is outlined only. The kind of material 
used for the background greatly influences the appearance 
so it is important to choose a suitable one. The ground 
stuff, usually linen or cotton should be fairly fine and of a 
loosely woven texture in order that the separate threads 
may be easily seen and picked up. 

Darning is also used in filling in leaf and petal forms 
in a floral design. The Imes filling in the pattern may vary 
in direction. Sometimes, as in the 
case of some varieties of fully 
blown flowers, the lines can all 
radiate outwards from a com- 
mon center. (See Fig. 393). A 
pleasant variety is made by in- 
troducing French knots for the 
centers of the flowers. 

Fagotting for the latest ef- 
fects in dress ornamentation is 
almost essential. It is used in 
a number of ways such as ap- 
pliqueing medallions on waists, 
etc., joining ribbons, bands and strips of material. Entire 
waists and sleeves are constructed of strips or folds of silk 
or light weight woolen material joined together by fagot- 
ting. Often collar and cuffs are formed by narrow bias 
bands fagotted together and these attached to the waist 
proper by fagotting, this alone being the only trimming 
used. Hems joined on to skirts by the use of this stitch are 
very effective and as many added rows as desired may be 
worked above this. Different stitches are employed such as 
herring-bone, sheaf -stitch, etc. 

The width of the fagotting is usually three-eighths of an 
inch, but may be made wider or narrower according to 
fancy. Procure a piece of heavy wrapping paper or glazed 
muslin as a foundation or background upon which the ma- 
terial is basted. Having decided upon the width of the 
fagotting it is a good plan to draw two parallel lines on 
the paper or cambric so that the edges of the material may 
be kept even. 

Page Eighteen 




Fig. 393. 



The stitch perhaps most commonly used in fagotting 
is illustrated in Fig. 394. It shows clearly how the stitches 
are placed. They are taken on 
alternate sides throughout and ^^^/^ 
on straight lines are an equal ^ %===«=* 

distance apart. When curved, !^__X 

however, the inner stitches will ... J.J^ .... .-...^ ft.-..- 

need to be closer than the outer. M A J\ J\ /\ 

■• 46/,-Y..Y..Y-3 

Fagotting is often employed _l 

to join the gores of a skirt, also / 
for embellishment on the upper 

edge of the skirt hem or flounce, which is joined to the skirt 
by this stitch. Skirts with the greater number of gores pro- 
duce the best effect, since the rows will thus be placed 
closer together. After the skirt is tried on and any changes 
necessary made trim the seams closely so they will not be 
in the way. Place a strip of foundation paper under the 
seam and pin it securely. The strip should be wide enough 
so that there will be room to turn the edges of the seam back 
smoothly. When the strip is pinned the full length of the 
skirt baste each edge of the seam in a smooth line and so 
they will be perfectly parallel from top to bottom. 

When a hem is fagotted to a skirt, turn and baste the 
hem in the usual way. Being sure of the length, press the 
hem and pin securely to the foundation strip of paper so 
that its center will come in the center of the fagotting when 
put in. Then cut through the skirt a trifle above the hem, 
rip the basting out that holds the hem and turn the edge just 
cut back until even with the under edge of the hem and 
baste carefully in position. Then baste the other edge an 
even distance from top of hem and fagot together. To keep 
the stitches from slipping in the seams and hem of a skirt 
run a row of machine stitching close to the edge so as to 
go through the fagotting stitches as shown in Fig. 394. 

The Flat-Stitch is a simple and useful stitch for work- 
ing solid fillings. A very loose twisted floss should be 
used so that the background will be well covered. 
For small petal and leaf forms it may be used as illus- 

Page Nineteen 




Fig. 395. 



trated in' Fig. 395. For lar- 
ger forms, bands of stitching 
must be worked side by side 
until the required space is 
filled in. The successive 
band of a flat-stitch filling 
should be so worked that they 
interlock slightly with each 
other and then instead of the 
junction looking thin it will 
be practically the same as the 
middle portion of the stitch. 

First take a stitch across 
the top of the leaf form and 
bring the needle up towards the center of the leaf. Next 
insert the needle on the opposite margin and iDring it up to 
the surface again a little way inside (see diagram). Turn 
the work, and insert the needle in the margin on the other 
side, carrying the thread straight across, bringing the 
needle up towards the center as before. This occurs alter- 
nately on either side of the leaf until the filling is completed. 
The special character of this stitch lies in the straight lines 
which seem to interweave as they go across the form. If 
worked correctly on the under side there may be a row of 
straight cross stitches along the outline on either side with 
an uncovered space down the center. 

The Overcast-Stitch is perhaps most commonly known 
as a useful one for holding raw edges firm in all forms of 
cut and open work and certainly none can be better for that 
purpose. 

It is used in embroidery for working stems, as has 
already been explained, and is then usually called the 
French stem stitch, also for outlining leaves and other 
forms which are afterwards to be filled in with other 
stitches. 

It is usual to work overcast directly across the run 
thread as illustrated in Fig. 396, but it is sometimes worked 

Page Twenty 



r 


=4 

1 

I 


/v / "7 

^ // / 



Fig. 396. 



slanting. First run, or couch 
down, a thread of the requisite 
coarseness upon the traced line, 
depending upon the material 
upon which it is worked, and 
then cover it closely over with 
regular stitches in the manner 
illustrated, always taking care 
to pick up as little of the mater- 
ial under the laid thread as pos- 
sible, otherwise the raised line 
will not have the full round ap- 
pearance which should charac- 
terize it. Loose twisted silk 

or linen floss show this stitch to the best advantage, but 

others may be used. 

The Long and Short Stitch is used where a half solid 
effect is desired, and is suitable for all designs. Flowers 
and leaf forms are most often executed with this stitch. 
The stitches follow the outline and are irregular in length 
as will be seen by the illustration, hence the name. They 
should all slant toward the center of the flower or base of 
the leaf, or nearly so. You will find this can be more easily 
accomplished by beginning at the center of 
the petal or leaf (see cross in Figure 397) 
and working one-half of it at a time. As 
the base is approached the last few stitches 
will be practicaHy nothing more than out- 
line stitches except that they are irregular 
on the inner edge and clean cut on the outer. 
Always maintain this even outside margin but vary the 
length of the stitches so that the inside will be as irregular 
as possible. Where a design is to be cut out, it should be 
worked closely with long and short buttonhole-stitch. 

Satin-Stitch consists of stitches laid in straight lines 
side by side as closely as possible, straight or diagonally ac- 
cording to the design. Although this stitch is not difficult, 
it needs continuous care in execution, as the whole appear- 
ance of the work will be spoiled unless the stitches are 

Page Twenty-One 




Fig. 397, 




perfectly regular and close together, thus giving a clear 
defined outline. This clear outline is a matter of paramount 
importance in satin-stitch. Nothing looks worse than an 
irregular, jagged edge. When well executed it gives a sur- 
face as smooth as its name implies, but by 
its nature it is not suited to a surface wider 
than a practical length for a single stitch. 
It is useful for narrow leaves and petals, 
monograms, etc. (See Fig. 398). 

A great many like to do the entire work 
on frames, while some prefer to work it over 
the finger ; some work the padding on the ^^^' ^^^- 
frames and the satin-stitch over the fingers. The way it 
will be necessary to do the work will depend upon the ex- 
perience one has had in it and until one is sure of her abil- 
ity at least it is best done in a frame or hoop. Too much 
emphasis cannot be laid on padding evenly, which may be 
of chain-stitching or outlining, but in either case let 
the stitches lie smoothly. Fine designs require little or no 
padding, while large, bold ones need a considerable amount. 
Padding is laid in the opposite direction to the satin-stitch 
to prevent the latter from sinking into it, and in all cases it 
should be only on the right side of the material. First, run 
around the stamped outline with short stitches, which should 
be of equal length on the upper and under sides of the cloth. 
Next pad the entire spaces in long stitches remembering to 
put them in the opposite direction from which they are to 
be embroidered, taking up just the tiniest bit of cloth on 
the right side at each end, so that there will be no padding 
on the wrong side of the work as this would not only be a 
waste of thread, but would give the same rounded effect 
on the wrong side as on the right, while it should be per- 
fectly smooth and flat. 

The thread should be silk or linen floss depending upon 
the material upon which it is used, that is, fragile fabrics 
must be worked with the very fine threads, and designs 
with very fine figures give best results on sheer textures 
and as a rule coarse designs and heavy threads should be 
employed on the heavy grades of linen or other fabrics of 
similar weight. 

Select a large-eyed embroidery needle just large enough 
Page Twenty-Two 



so that the thread will not pull the cloth when the eye is 
passing through. Bring the needle up at the tip of the petal 
or leaf and work across the padding as shown in the illus- 
tration. When well embroidered the work should be the 
same on both sides. When each form is finished fasten the 
thread on the wrong side and do not carry from one to an- 
other as this would give a certain machine-made look to the 
work and would show on the outside when laundered. 

Stems and narrow leaves are sometimes worked in 
stitches running diagonally, as stated before. The stitch is 
taken in the same manner except that it will be slanting 
instead of straight across. 

If a leaf is veined, lay the padding in two sections. 
Then cover with satin-stitch, the division between the sec- 
tions forming the vein. To do this begin at the top of the 
leaf and work from left to right, taking the stitches to the 
vein in the center of the leaf and slanting them to the base 
of it, or nearly so. When the first half is finished begin 
again at the center and work from right to left. 

Embroidering a curved form necessitates a crowding of 
stitches along the inner side of a figure and to maintain the 
same relative slant in the stitches throughout the work is 
the test and difficulty of good satin-stitch embroidery. It 
may be necessary now and then to use a half -stitch, in order 
to keep the slant of the lines in the right direction. In such 
cases the inside end of the half-stitch must be quite covered 

by the stitch following it. 

The French Stem is illus- 
trated in Fig. 399. It is em- 
^^^>^ V:^\^^^ ^'^==^ ployed when the ordinary 
'^ ' v-..,,^' outline stitch would be too 

^^- ***• narrow and not give a heavy 

enough appearance. It is necessary to have a foundation 
for this stitch which may be either the ordinary outline- 
stitch or the darning-stitch. As in is leaf form it may 
be made either straight across as shown in Fig. 399 or 
diagonally, as preferred. 

Back-Stitch needs no explanation as it is familiar to 
all and Fig. 400 shows the entire process of working it. To 

Page Twenty-Three 





-■■■rS"- 



start with, bring the thread through 
from the back about one-sixteenth of 
an inch from the beginning of the 
line to be worked. It then returns to 
the back at the commencement of the 
line and comes through again a little 
beyond the starting point. (See dia- 
gram) . A pretty cord-like effect is 
obtained by threading in and out, 
through each stitch in succession Fig. 400. 

with floss of a contrastmg color. For this purpose gold for 
the foundation stitching and black or dark blue for the 
overstitching is a good combination, or white and black, 
The effect of this method is shown in the lower portion of 
Fig. 400. A very fine thread should be used for the added 
stitch or else the underneath one will be too much covered. 
A tiny bit of the ground material should be picked up as 
the needle passes under each back-stitch for this makes the 
line more firmly drawn. 

To show to the best advantage, back-stitch should be 
worked with fairly coarse, loosely twisted thread, that is, 
coarse in proportion to the size of the stitch, which is a 
small one. The effect when the proper thread is used should 
resemble a neat row of small beads laid upon the material 
and this cannot be attained if too thin a thread or too long 
a stitch is employed. 

Arrow-head-Stitch is also an extremely simple stitch, 
but this type is often quite as useful for decorative purposes 
as those which are more intricate. To work, trace three 
lines on the material (one will be sufficient after a little 
practice) . Bring the needle and thread through at the top 
of the line which lies farthest to the left. Next insert the 
needle on the center line and bring it to the surface on the 
right-hand one (see diagram). Next insert the needle on 
the central line at the same point where it entered before. 
This completes the first stitch, and to continue bring the 
needle through at the correct point on the left-hand line for 
forming the next stitch. Usually the arrow-heads are 
equally spaced, the exact distance varying according 
to requirement. This stitch may be used as a line-stitch, as 

Page Twenty-Four 




Fig. 401. 



shown in the lower portion of Fig. 
401, or as an all-over light filling, 
as indicated on the upper part of 
the figure. 

The Wheat-Stitch is a very 
dainty and interesting little stitch. 
(See Fig. 402). It is a combina- 
tion of the arrow-head and chain 
stitches. There is more than one 
way in which it may be worked, 
but the way illustrated in the dia- 
gram is perhaps the best. To 
work, commence at the top of the 
traced line and work first the two stitches composing the 
arrow-head stitch, in the manner described. Then bring 
the needle to the surface upon the traced line a little lower 
down. Next pass the needle under the base of the two 
stitches, not necessarily letting it enter the material during 
this process, and then take it to 
the back at the point upon the 
traced line where it last 
emerged. This forms a single 
chain and also completes the 
first wheat stitch. The stitch 
is especially appropriate to rep- 
resent thorned stems and may be 
jidapted to form a light filling 
for a blade-like sheaf with the 
outline added to enclose it. 

Another way of executing the 
stitch is to first make a line of 
the arrow-head stitch and then ^'^- '*®2. 

a separate line of chain-stitch down the center, observing 
that each loop of the chain begins at the spot where the two 
stitches meet in the center. 

The three detached stitches in the lower portion of the 
diagram resemble winged seeds and can be used on any re- 
quired surface such as for example a conventionally treated 
leaf. No explanation of the method of executing is neces- 
sary as the diagram shows it clearly. 

The German Knot-Stitch is an attractive stitch, easy of 

Page Twenty-Five 





execution and very effective for all forms of decorative line 
work. To make, bring the thread up at the beginning of 
the traced line. About a 
quarter of an inch alon^ this 
line, take a short slanting 
stitch, passing underneath 
the traced line. (See upper 
left-hand corner Fig. 403.) 
After pulling the thread 
through, put the needle under 
the stitch just made in the 
direction from above down- 
ward, (see center of left-hand 
side of diagram) not letting 
it pierce the material and Fig. 403. 

keeping the thread loose. Next, put the needle under the 
same stitch, making a loose buttonhole-stitch. This process 
can be seen by glancing at the needle in operation in the 
diagram. It there passes the thread underneath the first 
stitch for a second time and pulls it through over the re- 
maining thread. When the thread is pulled snug the first 
knot is completed and it should cover up the part where the 
thread is attached to the ground material. The knots can 
be spaced close together or farther apart as wished but the 
same spacing should be maintained throughout one design. 

FaJrly coarse thread will show the 
stitch to the best advantage. 

The Braid-Stitch is used for or- 
namental border lines or as an en- 
circling line around centers of 
large flowers, etc. It needs a 
coarsely twisted thread to show to 
best advantage. To work it as 
shown in Fig. 404 bring the thread 
through upon the lower of the two 
Fig. 404. traced lines at the right-hand end. 

Throw the thread so as to form a loop (see diagram) then 
put the needle in this loop and insert the needle in the ma- 
terial on the upper traced line a little farther toward the left 
than the starting point bringing it to the surface again on 
the lower line over the thread. (See Fig. 404). If at this 

Page Twenty-Six 




point the thread is very loosely twisted upon the needle, 
draw it up tighter and pull the thread through. While 
drawing it through it may be easier to manage if the left 
thumb is placed lightly upon the stitch. The stitches may 
be placed closer together or farther apart than shown in 
the diagram if preferred. It is an especially attractive 
stitch but when worked on garments to be laundered a tiny 
stay-stitch should be taken at the upper and lower extrem- 
ity of each stitch on the traced line so that it will be held 
secure. 

With the foregoing stitches at her command any woman 
ought to do wonders. One must use judgment in applying 
them, as some will be suitable for one species of work and 
some for another. 

As a review in the instructions given on these decora- 
tion stitches the following may prove helpful. 

For outlines, stems, veins, and lines generally, the most 
suitable stitches are outline, couching, chain, back, split, 
twisted runnmg, German knot, and stem. 

For the solid parts of leaves and petals, honeycomb, 
damask, satin, cross-stitch and lattice. 

For light, partly shaded leaves and petals; seed, long 
and short, and French knots. 

For the centers of flowers; eyelet, satin or French 
knots. 

For the edges of applique forms buttonholing, over- 
casting, double row of back-stitching, also chain and couch- 
ing. 

For conventional flowers, bird's-eye. 

For light borders coral, herringbone, feather, couch- 
ing and cross. 

In working a design on waists, stock collars, cuffs, etc., 
do it before cutting out. Also, in wash materials the goods 
should be shrunken before it is worked. 

The choice of the threads or silks to be used for em- 
broideries or stitch decoration is a matter that requires a 
little consideration. Some benefit by the knowledge given 
them and some by experience. Women living in the large 
cities may learn much by observation when visiting the dry 
goods emporiums and are able to purchase from their com- 
plete stocks anything needed, but those living in small 

Page Twenty-Seven 



towns may suffer some disadvantage and often it is the case 
of "that or nothing." 

As has been stated, use only the best standard makes 
for the most expensive is usually the cheapest in the end. 
The weight of the thread will depend partly upon the 
texture of the background and partly on the design to be 
used. 

The thread for working — cotton, floss, silk, etc., is put 
up in different ways, some in skeins, some in balls and 
others on spools, the best grades of which sell from three 
to seven cents a skein or from thirty to seventy cents a 
dozen skeins, the balls and spools also, varying according to 
the thread and quality. 

The D. C. M. stranded cotton for wash material will be 
found suitable for almost any stitch and while it comes only 
in one size it consists of six strands and any number of 
strands may be used to suit the special kind of embroidery 
in hand and may be had in white and a large number of 
colors. The luster mercerized embroidery floss will also be 
found very satisfactory for general purposes but can be had 
in white only. It comes in four different sizes : C, D, E and 
F, size C being the coarsest. D and E are especially adapted 
for shirt waists, and dress accessories in the Madeira, 
shadow and French embroidery as explained later. 

In embroidery wash silk, outside of the fllo, (which is 
the lightest weight), the name of the floss, that is, Japan, 
Turkish, Spanish, etc., indicates the weight, therefore in 
purchasing it if you are not acquainted with these terms in 
the different brands it will be necessary to specify whether 
the same weight, coarser or finer than the ordinary border 
silk and to look at it before ordering. The border silk is 
about the same weight as knitting silk and is used for work- 
ing the borders in doilies and scallops in waists and dress 
accessories. 

Many new devices are being constantly put on the mar- 
ket to aid embroiders in their work. One should at least 
supply herself with a pair of good embroidery hoops, a 
stiletto, embroidery scissors, long-eyed embroidery needles 
and an emery. These things are absolutely necessary to do 
good work. 

An embroiderer should also have an apron and bag or 
Page Twenty-Eight 



cloth in which to keep her work until it is completed. One 
of the fancy work aprons will answer the two purposes. 
They are very easily made of some material that is not too 
heavy. 

Round and oval hoops may be obtained in a number of 
sizes at any store carrying art embroidery supplies at from 
10c to 20c. The cheaper ones come unbound and it will be 
necessary to cover the inner hoop with narrow strips of mus- 
lin, or better still of flannel, letting the edges of the strip 
overlap in the winding. This is done so that the material 
to be worked will be held taut so that when the padding is 
done the background will not pucker. It is essential that the 
hoop is wound evenly and not thicker in some places than 
others or it will not hold the goods in the same tension in all 
places. For a trifle more the hoop with a felt cushion on 
the outside band of the inner hoop may be had and this will 
give the required tension to hold the material and render 
slipping almost impossible. When this cushioned hoop is 
not in use the bands should be left apart so that the felt will 
not be kept pressed down as this would tend to make the 
hoop too loose. 

Padding should be done in a hoop. Many do not seem 
to realize the importance of this and put in the padding over 
the finger, using the hoops for the rest of the ernbroidery, 
whereas it should be the reverse, if one does not feel the 
necessity of keeping the work in the hoops during the whole 
process of the work. 

Do not make the mistake of developing a design in too 
elaborate stitches especially if you are a beginner for the 
work is apt to become tedious and you may give up in de- 
spair before the work is finished. It is a common fault that 
beginners in embroidery make an attempt at something too 
intricate and before the piece is nearly completed grow petu- 
lant over the slowness of their progress. 

This is a grevious mistake. It is a much better plan to 
advance gradually in the chosen work, making a careful 
selection of the materials, remembering that neatness and 
cleanliness when handling the materials are the first and 
most important factors in art craft. There are many beau- 
tiful expressions on handwork executed by the very simplest 
means. For instance, imagine the effect of a waist made of 

Page Twenty-Nine 



navy blue chiffon over a navy-blue-and-white striped silk, 
the chiffon over-blouse being embroidered in fine chain- 
stitching and couching. A double line outlining the yoke 
may be couched with a rather heavy white silk floss caught 
down at intervals of one-quarter inch with a fine navy blue 
silk floss. The lines in the balance of the design could be 
carried out in chain-stitch in various colors, making similar 
portions on either side of the design the same color, or it 
may be effective worked in shaded floss. For the chain- 
stitching use a loose twisted floss and make the stitches 
about a quarter of an inch long, letting the stitches lie loose- 
ly but uniform. 

In no embroidery should knots be used. The thread 
should be started by taking three tiny running stitches and 
one back-stitch to insure firmness and then place the needle 
in position for commencing the work. The running stitches 
should be taken on a line or place where subsequent stitches 
will cover. Another point to be observed in any embroidery, 
save outlining, in order that the line should be well covered, 
is to bring the needle up just outside the stamped line rather 
than just on it, thus preventing any of the stamping show- 
ing afterward. Also, if any padding is to be done, let it be 
within the lines, leaving the stamping clear for the actual 
embroidery. The flat-stitch requires no padding, however, 
and when the needle is in position on the right side the first 
stitch is taken as for satin-stitch. 

With the revival of the shirt waists or blouses that open 
in back comes the demand for designs that will fit them. A 
design for this purpose 



is shown in Fig. 405 and 
with the waist are worn 
cuffs and collar to rnatch 
and a spray might also 
be used at the upper part 
of the sleeves. The flow- 
ers should be padded 
and worked in satin- 
stitch. If desired, brus- 
sels or filet net may be 
inserted in the center of 
the large flowers and is pis. 405. 

Page Thirty 



iaafj^S 



basted on the under side. The narrow band that partly en- 
circles the net is closely buttonholed. When the embroidery 

is finished 
the material 
is cut away 
in the cen- 
ter of the 
flowers 
above the 
net being 
careful not 
to cut the 
net, and any 
surplus net 
neatly trim- 
med away 
from the 
wrong side. 
The stems 
are in satin 
outline, the 
dots are in 
eyelet. Some 
of the leaves 
are marked 
for seeding, 

but this is only a suggestion, as they may be worked entirely 
in satin-stitch, also the center of the large flowers may be 
filled in solidly with small French knots instead of the net. 

Also an embroidered shirt waist which opens in front 
very effectively trimmed with a band of Cluny insertion 
is shown in Fig. 406. Before stamping shrink the material 
and put the tucks in on either side of the front, then stamp 
and stitch the insertion on so that its inner edge will extend 
a trifle beyond the deepest part of the scalloped edge. Note 
just where the outer scallops will come on the insertion, cut 
the material a seam's width from the outer edge of the 
insertion for the finish. Now pin the stamped edge on the 
insertion in the same position as before the material was 
cut, and baste. The scallops are worked in close buttonhol- 
ing through both the material and the lace and the surplus 

Page Thirty-One 




Fig. 406, 



trimmed away. If material be too heavy to do this easily, in 
this case the buttonholing may be done before basting to 
the insertion and then when the embroidery is finished, 
baste into position carefully and slip-stitch the insertion 
and scalloped edge together from the wrong side. The 
embroidery as indicated in the illustration is done entire- 
ly in satin-stitch, but the dots and center of the flowers 
could be in eye- 
let. The waist 
may have cuffs 





and collar to ^ ^w^»i»«^ 

match in any 
style preferred. 

Embroidered ^V-i ^,„ / \ 

bows and jabots 
are also made to ^'«^- ^ot. 

match. Fig. 407 gives a bow to be worn with shirt waist 
in Fig. 405, the flower centers being worked, however, to 
correspond with those in waist. 

QUESTIONS. 

1. What stitches are most commonly used in dress decoration? 

2. Send a sample of each of the following stitches: outline, chain, 
twisted-chain, split, twisted running, cross, double cross, seed, bird's-eye, 
washable French knot, simple darning-, fagotting as in Fig. 394, and 
wheat. 

3. In what direction is the thread thrown in outline-stitch and 
what governs the length of the stitch? 

4. Describe the couching-stitch fully. 

5. (a) Name some of the forms of feather-stitching. (b) De- 
scribe the difference between the herringbone and coral. (c) Upon 
what does the beauty of feather-stitching depend? 

6. Describe the double chain-stitch, scalloped buttonholing and 
Wallachian. 

/. (a) What kind of a needle and thread is used for cross-stitch- 
ing? (b) How are the bird's-eye blossoms used? Pattern darning? 
Fagotting? 

8. Tell now the flat-stitch is made and for what it is employed. 

9. Describe fully tlie overcast-stitch as used for decorative pur" 
poses. 

10. For what purpose is the long and short stitch used, and what 
two points are important in making it? 

11. (a) How may the satin-stitch be worked, what is of para- 
mount importance in executing it, and when should a hoop be used? 
(b) Explain fully how the padding is done. 

12. Describe the French stem, back, arrow-head, German knot and 
braid-stitches. 

13. (a) Tell what stitches are suitable for outlines, stems, veins 
and lines generally, (b) For the solid parts of leaves and petals. 

14. What points are to be considered when selecting threads for 
stitch decoration? 

15. (a) With what articles should one supply herself for this 
work? (b) What sort of a design should the beginner select? (c) 
How is the thread fastened in beginning a piece of work? 



Page Thirty-Two 



THE 

AMERICAN SYSTEM 

OF DRESSMAKING 



A Course of 

Instruction by Mail 

in the 

Science and Art 

of 

Successful 

Dressmaking 

And Ladies' Tailoring 



Lesson No. 21 



The American College of Dressmaking 

(Associated Training Schools, Proprietors.) 

KANSAS CITY, MO., U. S. A. 



Copyrighted 1906, 1907, 1908 and 1909 
by J. M. Stelle 

Copyrighted 1910 and 1911 
h^ Associated Training Schools 



Jill rights reserved. 



Printed in the United States. 



Clbe 



American §)j>0tem 
of Bre00mafetng 

TAUGHT ONLY BY THE 

amertcan College of Bressmaltlns 
iSlansas Cttp, jHo. 

Miss Pearl Merwin, Supervisor. 

Lesson No. 21 

BELTS AND GIRDLES. 

The girdle is by no means an inferior part of the cos- 
tume. Its prominence must not be overlooked for its pow^er 
to make or mar a costume is beyond question. It should 
match the skirt, waist or dress trimming. To introduce a 
foreign color is to call attention at once to one's w^aistline, 
and this is a thing forbidden except in the case of w^hite 
wash dresses. The girdle and its draperies are sometimes 
so extensive as to form the entire trimming of a dress. 

There perhaps never was a time when such a variety 
of them were worn. There is the straight and shaped 
tailored belt in a large number of styles, straight fancy 
belts of hand embroidery, beads, crochet, knitting, ribbon, 
etc., wide and narrow crushed and plaited belts and girdles, 
and girdles and sashes with knots and loops, trimmed also 
in fringe, cords and tassels, and jet and silk balls. 

In this article will be described some of the most prac- 
tical belts and girdles for general wear — those that are now 
in vogue and those which are in style from time to time as 
well — and additional ones of embroidery, braiding, etc., will 
be taken up under the head of Dress Accessories. 

The straight, narrow Tailored Belt as shown in Fig. 408 
has a foundation of canvas which is cut on the half bias. 

Page Three 



that is, half way between the straight and true bias. In 
striped goods, as a rule, the belt is cut lengthwise of the 
goods but to give the high waistline effect it is cut cross- 
wise. For the canvas interlining quilt two thicknesses to- 
gether, shrink thoroughly and cut the strip a trifle wider 
than the belt is wished as it will stretch a little. If the 
canvas is not wide enough to cut the belt in one continuous 
strip, cut two strips each a little more than one-half the 
waist measure. Be sure that one end in each strip is cut 
at perfect right angles with the edges, then in place of seam- 
ing the ends together cut a strip of the canvas about half 
an inch wide and as long as the width of the belt and lay the 
straight ends of the belt upon it and with a zigzag stitch, 
stitch across back and forth from one to the other being care- 
ful to hold the ends straight and so that they will touch each 
other from top to bottom. This is very essential or the belt 
will be crooked. These belts are made from an inch to two 
inches wide depending upon the prevailing style and one's 

figure. After the foundation 
has been prepared fit it just 
as it is to be worn — over the 
same amount of clothing 
and open at the front, 
back or side. (See A, B, & C 
respectively Fig. 408). To 
fit, pin the belt together as 
you would a seam, remove 
and where it is to come to- 
gether without overlapping 
pigr. 408. ^^^ ^j^g gj^^g Q^ jj^ ^Yie pin 

holes in canvas, folding it together first at the center back, 
(if belt is to fasten in center front) , to see if these pin holes 
come opposite each other. If they do not, then divide the 
difference by adding half of it to one end and taking from 
the other. If, however, it is to finish in a point or scallop 
as in C of Fig. 408 then this end will overlap the straight end 
a trifle. Cut the point or scallop end as it is to be 
and pin it over in position on to the belt. Before remov- 
ing put in pins and mark where the edge of the scallop 
or point is to overlap on the belt. Then remove and trim 
off the surplus length from the straight end. After remov- 

Page Four 




ing the belt foundation, being very careful not to stretch it 
in the least, lay it on the press board and place a wet cloth 
over it and press, so as to hold in the same position as when 
fitted. If the belt is as wide as two inches put a piece of 
featherbone in the center front and back and one on either 
side. That is, a belt of this width with both ends straight 
has five bones in all, one on either end about half an inch 
back, one at either side and one in center front or back, as 
the case may be. If one end of the belt is finished in a point 
or scallop and overlaps only a trifle, then put the bone only 
on the straight end. In boning be sure to cut the bone long 
enough to finish the ends and after slipping the casing back 
on the last end measure and cut so that it will be as much 
as an eighth of an inch from either edge of the foundation 
and see that it is stitched perfectly straight across it. 

To cover the belt, lay the foundation on the straight of 
the wrong side of the material with the boned side of the 
foundation up and run a basting through the center length- 
wise then another row on either side of this if the belt is 
wide and the material does not stay in place well. Next, 
cut back from all the edges far enough for turning over the 
edges. This will depend somewhat on the finish of the belt. 
In the ordinary one only a good seam's width is needed, 
but in a narrow one this turn-over allowance is made one- 
half the width of the belt so that the edges will meet in the 
center on the wrong side and is then finished by covering 
these edges with a length of binding ribbon felled neatly 
over them. Where the material covers the back as well as 
the front it will be found especially good for the solidly 
stitched belt as shown in G, Fig. 408, the extra thickness 
improving the appearance of the stitching. 

After the foundation has been basted on the material 
and the allowance has been made for the turn-over with the 
right side of belt toward you, draw the material over the 
edges so that it will lie perfectly smooth and baste, turning 
the extra material in at the corners and where the material 
is heavy some of the surplus will need to be trimmed out 
underneath the fold-over to make it lie flat there. Where 
the material covers the entire back of belt, as referred to 
above, there will need to be enough basting to hold it smooth. 
In case there is a scallop at the end, gather in the extra full- 
Page Five 



ness by small stitches, with a thread the same color as the 
material, a little less than a quarter of an inch from where 
it turns over the edge of the foundation. While putting in 
the gathering, hold the material over the edge as you pro- 
ceed and when the straight edge is reached again draw up 
the gathering thread tight and work out any suggestion of 
gathers which may appear along the edge of the scallop from 
the right side and baste securely. In some materials it will 
be necessary to run in two rows of gatherings about a quar- 
ter of an inch apart. 

If the outside of the belt is to be made on the bias then 
the canvas foundation should be cut on the straight. 

Before stitching, the belt should be pressed thoroughly. 
As a rule the thread matches the material. It is sometimes 
stitched, however, in a constrasting shade or light colors in 
white and dark ones in black. There is sometimes only one 
or two rows of stitching on the edge of the belt (see C, Fig. 
408), or it may be stitched solidly as shown in G, Fig. 408. 
In any case, where both edges are finished alike, let the 
stitching follow the edge of the belt in a continuous row. 
(See B, Fig. 408). Where the belt is stitched solidly about 
a quarter of an inch apart is a good distance for the stitch- 
ing. In order to divide the space up evenly one should cal- 
culate with pins or light chalk marks before beginning so 
as to know how close to the edge the first row of stitching 
will come. Sometimes it will be on the very edge and again 
may be as far from it as the rows are apart. (See G, Fig. 
408) . When no stitching is to show on the right side, cat- 
stitch the edge of' material to the canvas foundation secure- 
ly and it is ready for the hooks and eyes, after being press- 
ed. The hooks are put on the right end about an eighth 
of an inch back from the edge and the eyes on the left, the 
loops extending the same distance out from the edge. Take 
special pains to sew the hooks and eyes on so that they will 
be immovable so that the belt may be held securely in place 
when worn. Also place a hook about one-eighth of an inch 
from the lower edge of belt, two inches on either side of the 
center back, which should correspond with two eyes on the 
skirt belt. This will give one the assurance that her belt 
will remain just as it was put on. 

The lining should be light weight but durable. Baste 

Page Six 



the belt through the center on a piece of the lining with 
the wrong side of each facing, then cut, turn under the edge 
an even distance from edge of belt to cover the raw edge of 
material and so that it will serve also as a covering for the 
hooks and eyes and fell closely. 

If the belt is piped, braided, embroidered or decorated 
in any way, this should be done before it is lined. 

Where belts are made in more than one section as shown 
in D, E, and F, Fig. 408, first cut a straight strip of paper 
the width the belt is to be when finished and the length of 
the waist measure. If the belt is to have the extra piece 
in the center front with scallops on either side of it as shown 
in the figure, mark the center front and draw lines marking 
the divisions accurately. Next prepare the canvas for the 
foundation as already described. First trace from the pa- 
per pattern the little under section over which the scallops 
lap. To do this first trace the center and then the scallop 
and upper and lower edges. Cut on the edges and about 
half an inch back from the markings of the scallops. Mark 
in colored thread on the tracings in running-stitch. Then 
trace the scalloped section or sections from the canvas cut- 
ting in the tracing on aU the edges. This belt may be closed 
in the back with straight edges as in B, Fig. 408, or at the 
side front, the hooks being placed under the right-hand 
side, and also a section in the center back similar to that in 
front. These under sections may be the same as the rest of 
the belt as in D and F of Fig. 408 or a contrasting material 
as in E. The under sections are often of the same material 
as the skirt or suit with which the belt is worn and the up- 
per sections of the trimming or vice versa. Cover the under 
section with the material first and stitch or trim in any way 
preferred or cat-stitch the edges to the canvas and leave 
plain on the right side as in D and E, Fig. 408. Baste 
through to the right side on the markings, cover and finish 
the upper sections and place on the under section or sections 
according to the markings. If the waist measure was taken 
correctly, the markings carefully observed and the belt was 
not stretched it should fit exactly. Before stitching the sec- 
tions together, however, try on and make any alteration 
necessary by moving the edges of the upper sections nearer 
or farther from the center mark being sure to keep them 

Page Seven 



an equal distance from it, or the belt will be one-sided. 
When fitted, join the sections securely either by hand or 
machine. If the former, put the stitches in so that they 
will not show from the right side. If the upper sections are 
to be machine-stitched baste them on the under sections first 
and stitch through and through. They may be stitched on 
the very edge but a prettier effect is gained by stitching back 
from the edge a quarter of an inch or so. Of course, if the 
opening is at the side front remember to stitch only one end 
to the under portion. Sew on the hooks and eyes and line 
it as instructed. This style belt may be varied by having 
two or more scallops on either side of the center of belt, one 
upon the other, allowing half an inch or so for the overlap 
on each, also points may be used instead of scallops. 

A very useful and satisfactory belt when in vogue is one 
finished in points crossing at the center front. To make, cut 
the canvas interlining three inches longer than the actual 
waist measure, cover, press and stitch solidly or with one or 
two rows on the edges, and line. It may be fastened with a 
belt pin or hooks and eyes. It is very practical made of 
black broadcloth, as it may then be worn as an extra belt. 

Figs. 409, 
410 and 411 
show some at- 
tractive tailor- 
ed belts. The 
^^s- 409. belt proper in 

the first and second is constructed in the regular way. 
Fig. 409 may be developed in suede, velvet, broadcloth, etc. 
The ends are interlined, stitched and lined the same as the 
belt, one lapped over the other and sewed to the right end 
of belt. The loop is then cut, interlined and stitched, if 





Fig. 410. 



preferred, and placed over all and sewed securely in posi- 
tion, when it is ready for the hooks and eyes and lining. 
Fig. 410 is made from Persian silk or chiffon velvet with a 

Page Eight 



self -covered buckle, A plain buckle may be bought for this 
purpose and covered with the same material of which the 
belt is made. After the belt is made and lined pierce a hole 
with a stiletto near one end of belt for the tongue of the 
buckle and finish the left end upon which the buckle is at- 
tached by turning under the raw end and stitching. The eye- 
lets may be put in by any cobbler, if you haven't a punch to 
put them in for yourself. Fig. 411 is a linen belt with buckle 



embroidered in linen floss a shade darker and trimmed with 
narrow white cotton soutache braid, caught to the belt with 
the couching stitch. This buckle foundation may be made 
of buckram, or a couple of thicknesses of canvas quilted to- 
gether, with a narrow strip running across the center 
lengthwise through which the belt is passed and then tacked 
in place as shown in the illustration. 

Every season there are certain models which are "new" 
and considered the most fashionable but in making belts 
and girdles it should be remembered that certain shapes are 
not becoming to some forms and must be avoided. For in- 
stance, the woman who is short-waisted in the back should 
not wear a belt or girdle that is wide in the back and nar- 
row in the front or so shaped as to exaggerate it. On the 
other hand, one who is long-waisted in the back and short 
in the front, in order to overcome this and make the waist- 
line appear more stylish, should wear a belt or girdle raised 
in the back and dipped in the front. This will tend to 
shorten the appearance of the back length and lengthen the 
front. A wide crushed girdle is becoming to the slender 
form, while one to thicken the waistline must be avoided 
in a stout figure. Another point to be remembered in 
changing the apparent position of the waistline in wearing 
separate waists and skirts is that a belt made of the same 

Page Nine 




^^ ^M^ ^ep 



material and grain of the goods as the skirt will appear to 
raise the waistline and one the same in color as the waist to 
lower the waistline. 

It will be found necessary in the straight canvas foun- 
dations to fit them by means of tiny darts run in the canvas 
or in cutting the extra canvas away and then stitching the 
portion on a narrow straight strip. The latter method must 
be used unless the foundation is light weight. For example, 
in a belt similar to that shown in A, Fig. 412, pin a dart in 

the foundation 
s beginning at the 

waistline in the 
center front and 
tapering out to 
nothing at the 
point. If, how- 
ever, a belt ex- 
tends above the 
waistline as 
shown in B, Fig. 
412, beginning at 
the waistline pin 
a dart in as 
before running it 
out to nothing at 
the point but this 
time the point 
will be above the 
waistline instead 
of below. Also, 
a belt that dips in the front will require a slightly raised 
effect in the center back, as a rule, which is obtained by 
taking out a small dart at the waistline and extending it 
upward. If the foundation is made from one thickness of 
the canvas, the darts may be stitched in as they were pin- 
ned, trimmed off as evenly as possible and the seam pressed 
open, letting these seams come on the inside of the belt and 
the bones stitched over them, if bones are used. If the foun- 
dation is to be heavy — made of two thicknesses of the can- 
vas quilted together — then fit one of one thickness first 
and after seeing that the darts are taken up just in the place 

Page Ten 




Fig. 412. 



they are intended to come, the center front or center back, 
mark from the pin holes in one edge of the belt to the other 
in a straight line and cut off. Take a straight strip of can- 
vas as described in the first part of this article, and sew the 
corresponding portions of the belt upon it so that the edges 
will come entirely together in a straight line, otherwise the 
size of the belt will be effected. 

An easy-to-make belt which will require no interlining 
or lining is the heavy, ribbon belt. One of fancy striped 
satin is shown in C, Fig. 412. One end is finished plain with 
three eyes to receive the hooks, while the other has two 
pointed ends, and a rosette. The hooks are sewed under the 
rosette which is made of a button mould covered with plain 
satin to match the ribbon with a little gathered frill oi the 
same. 

The narrow Crushed Belts or Girdles are made of velvet, 
silk, ribbon or any material that will give soft and pretty 
lines. They may be made over a light weight boned foun- 
dation or the belt fitted and the lengths of featherbone 
stitched on to the belt itself. The edges of the foundation 
should be finished with a binding, the belt or girdle cut on 
the bias (see I, Fig. 412) and the edges hemmed or slip- 
stitched, then tried on, the belt pinned to the foundation, 
removed and tacked to position. When the featherbone 
only is used, finish the edges of belt as just indicated; cut a 
length of bone for either end, for the sides and the center 
of the belt directly opposite the closing, the width one wishes 
the belt to be, pin them in, try on and pin the folds just 
here and there to the bone lengths afterwards tacking to 
position. They may be finished at the opening with a 
rosette (D, Fig. 412), bow (E, Fig. 412), buckle with both 
ends concealed or with one end extending an inch and a half 
or two inches beyond edge of buckle. (See F, Fig. 412) . 
The straight crushed belt which is from two to two and a 
half inches wide when on will require a width of velvet 
from four to four and a half inches wide or from five to six 
inches in silk cut on the straight crosswise of the material. 

The wide crushed ribbons are much used for crushed 
belts and a very commendable feature is the little time re- 
quired to make one. The plaid ribbons (see G, Fig. 412) 
and those which have the dark color at the edges and shade 

Page Eleven 







to light tints toward the center are both pretty for these 
belts or girdles. As an inexpensive finish use silk-covered 
wire which is covered with the same silk as the belt, bent 
into any shape preferred for the buckle. The buckle should 
be made with a crosspiece of the wire at the back, covered 
with ribbon. Slip the belt through the buckle, over the 
crosspiece and out again. In finishing the belt, plait the 
loose end and sew on hooks and eyes as instructed. If one 
wishes a narrow belt the same width all around, the bones 
may be omitted. 

Also, a very attractive narrow girdle 
is shown in Fig. 413 which may be made 
of twisted satin, velvet, heavy ribbon, etc. 
The loops are made with a foundation of 
heavy silk-covered wire just described. 
The ends are finished with bead fringe 
and the tiny buckle made of the same ma- 
terial decorated with beads to match. 

A very practical one for the average 
figure is one three and a half inches high 
Pig. 413. -j^ ^YiQ back, two and a half on the sides 

and three in front, being fitted with a slight dip in front, 
therefore cut the bone lengths accordingly. If the material 
is too narrow to cut the belt from one width, use two, let- 
ting the selvages come together in the center back if the belt 
is to open in the front or vice versa. They cannot be seamed 
together the same distance from the selvage, however, for 
with the slight dip it will need to be taken in at the bottom 
in the back more than at the top and in the front more at 
the top than at the bottom. First hem or slip-stitch the 
edges of the widths and seam together as just instructed, 
according to where the belt is to open. Make a line on either 
side of the seam as far from it as one half the width of the 
featherbone being sure that they are perfectly straight and 
an even distance from the top to the bottom of the seam, 
gather on these lines with a thread to match the material 
and baste the center of the seam to the center of the feather- 
bone first and then the gathering on either side of the seam 
before stitching into place. To do this, place a pin across 
the top and bottom of the belt or girdle and the ends of the 
featherbone so that the seam will come in the center of the 

Page Twelve 



bone and the edges of the belt will extend over the ends of 
the bone about an eighth of an inch or a trifle more so that 
the bones will be sure not to poke out over the edges when 
made. This seam may be covered with a narrow strap the 
width of the featherbone or bows, rosettes, etc. If the strap 
is used it may be made and basted on before the bone is 
stitched, the one stitching answering for both. After the 
bone is put in the center of the belt, fit it, and if the pin 
holes will not show, mark across the pins with tailors' chalk 
before removing and when it is taken off, follow instructions 
already given for the tailored belt in seeing that both ends 
are the same distance from the center and after removing 
mark in a smooth line from top to bottom of belt and put 
in a basting on either end. The allowance for finish is made 
beyond the markings. If the ends are to be finished with a 
rosette, bows or something of this kind to conceal them then 
all that is needed is an allowance equal to the width of the 
bone plus three-eighths of an inch. Make a casing for the 
bone by turning the raw edges back one fourth of an inch, 
then turn again on the basting marking the end and with a 
thread to match the material fasten the first turn-back with 
a close running stitch, overcast neatly one end of the casing 
thus formed, slip the required length of bone in it and draw 
up the gathering thread so that the casing is just a trifle 
longer than the bone, fasten the thread securely and over- 
cast this end. The bone should be the uncovered sort so that 
the edges will be straight and solid and may be anywhere 
from one-fourth to half an inch wide as preferred. Some- 
times when no trimming is used at the closing a little frill 
is made on either end from three to five-eighths of an inch 
wide. To make one half an inch wide when finished, meas- 
ure out from the "end marks" one inch, mark with a bast- 
ing, then mark beyond this the width of the bone and cut 
making an allowance of three-eighths of an inch as before, 
a quarter of an inch for the turn-back and an eighth of an 
inch for the room the bone takes up in the casmg. Baste 
the raw edge back and bring the inch markings over to the 
end marks and run these together also the casing for the 
bone, slipping the bone in and finishing as has just been 
described. Sew the hooks and eyes on very firmly not more 
than three-fourths of an inch apart, first putting one at the 

Page Thirteen 



top and bottom and then dividing the space between equally, 
having the hooks extend back a trifle from the mark indi- 
cating the end of the belt on the right-hand end and the eyes 
out the same distance on the left-hand end. 

A Shirred Belt or Girdle may be made either over a fit- 
ted foundation or the bones attached to the belt itself just 
as in the crushed ones. In fact, the one last described may 
belong to the flat shirred variety as well as the crushed. In- 
stead of the sides being crushed they may have a couple of 
rows of flat shirring also and be stitched to a bone the re- 
quired length. When fitting the belt or girdle place a pin at 
both top and bottom on either side midway between center 
front and back, and when removing fold together in the 
center to see if these markings come directly opposite each 
other. If one prefers, the tucked shirring may be used pro- 
vided the material is soft and thin. The markings for the 
center of the tucks are put in first, making an allowance for 
each twice the width of tuck, then turn back on these marks 
and put in the shirring, threads. Quite a favorite style in 
this variety of shirring in a girdle is three sets of double 
rows in either the back or front with a double row on either 
side and end, the headings or tucks being as far apart as 
the width of the bone and the sets of rows may be the same 
distance apart at the top and bottom edges but as a rule they 
are farther apart at the top than at the bottom — say three- 
fourths of an inch at the bottom and an inch and a quarter 
at the top. In materials where it is necessary to seam the 
widths together let it come at the edge of a tuck, trimming 
the seam narrow enough so that its edges will not be caught 
in the tuck when putting in the shirring thread, or else this 
heading would draw up differently and look thicker than the 
others. This will be one of the center front or back sets and 
when the shirring for the other is put in, pin the girdle on 
the bone length as already given, so that the little tuck or 
heading will come just mside the edges of the bone and can 
be attached to it. It cannot, however, be machine-stitched 
on account of the headings but by hand and especial care 
will be required so that the shirring will be tacked on to the 
bone perfectly straight, the stitches being taken right into 
the shirring thread. Put the bones in the others in the same 
way. 

Page Fourteen 



The Plaited Belts and Girdles are also made on the 
boned foundation or the bone lengths attached to them. First, 
prepare the material — seaming the widths together and fin- 
ishing the edges as has been directed — and then pin the 
plaits in the center of the girdle to the center of the founda- 
tion or bone length so that they will be the same depth and 
also the distance between the edges of the girdle and the 
edges of the plaits as shown in H and I, Fig. 412. This may 
require a little pinning and unpinning before being able to 
get it just right, therefore, use sharp pins so that it will not 
leave marks in the material. If the girdle is to be straight 
around and the same width, the depth of the plaits and the 
distance between them will also be the same. Unless the 
girdle is quite narrow, however, it adds to its appearance to 
make it at least slightly narrower at the sides, but in that 
case the plaits will of course be laid in deeper and the dis- 
tance between them less, but should still be equal in all, and 
are pinned one by one to the bone. In doing this, work from 
the plaits already pinned in seeing that each lies perfectly 
smooth. When the plaits are adjusted correctly baste and 
attach to the bone either by two rows of machine stitching 
as far apart as the width of the bone or by tacking the edges 
of the girdle and plaits invisibly to the bone. Next, pin the 
plaits in at the ends, which will come one-half the waist 
measure from the center. In pinning them in work from 
those at the side and observe the same instructions in re- 
gard to the depth and distance between plaits but do not pin 
the plaits to the bone length until fitted. After fitting, baste 
the plaits at the point marking the turn at the ends also 
about three-eighths of an inch on either side so as to hold 
them securely and put the bone lengths in as instructed for 
the crushed or shirred belt or girdle. 

If a boned foundation is used this last set of plaits may 
be pinned to the ends and then basted, turned over the ends 
of the foundation and finished. When the foundation is 
used the girdle is cut on the bias as before mentioned. 

Fig. 414 shows a narrow side plaited girdle of silk fin- 
ished in the front by braided loops and ends to be worn with 
silk or cloth dresses. This bow also conceals the seam when 

Page Fifteen 




Pis. 414. 



necessary to use 
one. The little 
balls are made by 
cutting circles of 
the silk from two 
and a half to 
three inches in 
diameter, turning 
the edge back to 
tHe wrong side 
and gathering by 
small running 
stitches close to 
the edge ; fill with 
cotton, finish the ends with a short length of silk cord the 
same shade as the silk, slip one end just inside the ball, so 
that it will be hidden and draw the gathering thread up 
tight and fasten securely. Make the required number and 
fasten to the ends of the bow so that the cord ends will be 
hidden. 

An attractive plaited girdle made of ribbon six inches 
wide is depicted in Fig. 415. It is finished at the center 
back by a shaped piece of buckram or quilted canvas covered 
with the ribbon and decorated with machine stitching and 
buttons, which are also covered with the ribbon. It will be 
observed that there is a side plait along either edge of gir- 
dle, turning away from the edges with a small box-plait in 




Fig^. 415. 

the center. First make the shaped piece for the back, which 
is a little longer at the top than the bottom, plait the ribbon 
and pin to it. Next pin the plaits in the front as instructed 
and after fitting and making any changes in adjusting the 
plaits necessary, so that they will lie perfectly smooth and 
the ends will be the same width, baste and fasten the widths 
of ribbon to the back piece by means of machine stitching 
which is carried around its entire edge, finish the left end 

Page Sixteen 




Fig. 416. 



over a short length of bone and the right end over it in a 
point. Leave the length mark of belt in the right end until 
the hooks are put on, as this is essential. It will not be 
necessary to put a bone in this end but since no machine 
stitching is used across the end the bone will be convenient 
to attach the plaits to and upon which to sew the hooks. If 
the bone is not used a strap of the ribbon will answer the 
purpose. The pointed end is made by cutting the ribbon 
straight across, folding in the center lengthwise from the 
wrong side and seaming from the fold to the edges and then 
turn the point right side out. 

Another attractive finish for a belt or 
girdle on this order is a motif made from a 
double cording of silk and tied in a Chinese 
knot, (see Fig. 416). The two small dia- 
grams in Fig. 417 furnish the key to the 
solution and illustrate quite plainly the inter- 
lacing of the cord, the arrow-heads showing 
the direction of laying the cord. This knot 
is used extensively in manufactured trimmings. Heavy 
common cord is better for experimental purposes than 
braid. A little practice will enable anyone to master the 
simple interlacing, which never 
varies even though the knot may 
finally be coaxed into various de- 
ceptive shapes such as a perfect 
ball, a half ball or perhaps a flat 
knot. The motif shown in Fig. 
416 is intended for one side of the ^^^- *^'' 

belt or girdle opening, or two of them used with their 
heavier sides together at the center of front or back of 
girdle. You will observe that one side is pulled out looser 
than the other in the illustration very much the same as the 
second diagram in Fig. 417. It will require twenty-seven 
inches of the cording. In making the motif, the ends are 
tucked under their individual sides and tacked into conceal- 
ment. 

To make the cording fold the silk (any soft kind) on the 
true bias and cut into strips one and one-quarter inches in 
width, sew the strips together keeping each seam bias. 
Then fold right side in, and stitch the entire length on the 

Page Seventeen 




machine, making a generous seam, so there will be no dan- 
ger of fraying. For cording the silk use eiderdofwn wool 
which is light and soft and measures a full quarter of an 
inch in diameter. Other worsted of similar thickness may- 
be substituted. Preparatory to turning the silk to the right 
side, sew one side of one end of the silk tubing to one end 
of the wool and hold a bone or rubber knitting needle or 
even a slender lead pencil along side of the wool wicking as 
an aid in working this end through the tubing which will 
result in the wicking being run in the silk tubing and the 
silk turned right side out. When the end is reached the 
knitting needle or pencil is slipped out. This might also 
be done by using a bodkin fastened very securely to one end 
of the tubing and wicking by means of a strong thread and 
in this case the knitting needle or pencil is not used. 

A fancy pendant for the end of a girdle is shown in 
Pig. 418. This will require three lengths of cording each 
a little shorter than the other — say twenty, nineteen and a 

I half and nineteen inches. Fasten them to- 
gether at one end and braid loosely about 
two inches; tack lightly to keep from un- 
braiding. At the end of each strand make 
a Chinese knot carefully working and shap- 
ing it into a ball. Conceal the end of strand 
in the center of knot and sew into place. 
Make in each strand at even intervals a 
couple of tight, single, ordinary knots of the 
cording, formed similarly to the Chinese 
knot. Slip a finger into the very center of 
the fiat knot after it is formed and carefully 
work it into a ball shape with an open cen- 
ter, or in other words a band. The broad 
loops and end of the silk are slipped into the 
center of the knot and fastened there, while 
the braided cords are put in from the other 
end and only one of these pendants used for 
Fig. 418. i\iQ girdle being sewed on in a perpendicular 
position, as in the illustration. Or another bunch of the 
loops and ends may be made, also three more strands and 
knots. In this instance the bow will be placed in a hori- 
zontal position. To make, bring the braided end of one 

Page Eighteen 



bunch of strands and that of one bunch of loops together 
and sew neatly at and under either side of the large knot, 
referred to above, formed from the double strands of the 
cording. 





Fig. 419. 

To draft a pattern for the Deep Fitted Girdle, say from 
three to five inches above the waistline, and from one to two 
inches below on the order of the 
ones shown in Figs. 419 and 420, use 
that portion of the tight-fitting waist 
draft which has two darts in front, 
as the sections in this draft conform 
with those needed in the girdle with 
the exception of the front dart which 
is disposed of by taking one inch of 
its width off of the center front and 
the remainder is thrown into the back 
dart. This will make seven seams. 
These girdles usually open in the 
center back or side, seldom ever in 
front. 

The foundation is cut from the pattern of light weight 
canvas or butcher's linen placing the waistline in all the 
sections on the straight crosswise grain of the lining with 

Page Nineteen 




Fig. 420. 



the exception of the side-front section which should be 
placed so that its front edge below the waistline will come 
on the straight lengthwise grain of the goods. Baste, fit 
and bone. If it is to have a lining, the bones will come 
away from the body, that is between the foundation and the 
material, the edges of the foundation being bound or turned 
toward the boned side and stitched as a finish. The material 
for the girdle is always cut on the bias, and before draping 
place a center mark in the material to correspond to that in 
the foundation and pin the material on the foundation so 
that they will come together. Smooth and pin either way 
from the center, baste and tack lightly here and there in- 
visibly under the little plaits, then cut allowing for the fin- 
ish. Where no stitching, braid or trimming of any kind is 
used at the edges, as shown in A, Fig. 419, the edges of the 
material are brought over the edge of the foundation, trim- 
med evenly and felled down, or if the material will not ravel 
it may be cat-stitched. If braided or stitched close to the 
edge as shown in B and C, Fig. 419, the edges may be turned 
back and basted to the foundation so that the material will 
come an eighth of an inch beyond the foundation. This is 
important or else it will pull back and show the foundation. 
Leave the basting in until the braiding or stitching is com- 
pleted. A lining is not often used in these girdles but if 
one is desired cut by the same draft as the foundation, place 
corresponding seams together, facing each other, smooth the 
lining on the foundation from the waistline up and from 
the waistline down, baste and fell along the edges having 
first sewed on the hooks and eyes very securely. Cover 
hooks and eyes with binding ribbon where the lining is not 
used. 

These girdles may be shaped any way preferred along 
their edges. Some have a slight or decided point in the back 
or front below the waistline and in others a gradual down- 
ward slope in the back to a point in front, etc. Above the 
waistline some are round, some are pointed and some are 
shaped to give a square effect in front, (see C, Fig. 419), 
while the back may be finished in one of these outlines or 
straight across. The girdle may either be made of the ma- 
terial of the gown, or of the soft silks that will drape prettily 
such as messaline; in woolen and silk dresses panne velvet 

Page Twenty 



is frequently used but for lingerie dresses made of batiste 
mull or organdy, silk is always in good favor. For a me- 
dium-sized woman three-quarters of a yard of material 
twenty or more inches wide will be required. 

If the girdle is not to be worn separately one will not 
need to make a foundation for it. It may then be draped 
over the waist, as shown in D, Fig. 419. In this case, it will 
be essential, however, since the girdle and waist do not open 
in the same place (the former in the side back and the latter 
in the center back) to finish them separately by boning the 
girdle in the center back, sewing hooks and eyes on its edges 
and leaving it loose from the waist as far back as the open- 
ing of waist. 

The first illustration of Fig. 420 shows a girdle which 
closes at the side-front finished with three scallops each hav- 
ing a button placed upon it. The draping of this girdle may 
be begun either at center front or center back, working 
either way from those points. The scallops will need to be 
underfaced. A strip of material as long as the width of the 
girdle across the scallops and about half an inch wider than 
their depth will be needed for this. Place it on the girdle so 
that the right sides of each will be facing each other and so 
that the left-hand edge of the underf acing will take the same 
slant as the scallops. The scallops should be marked and 
their edges stitched before they are cut out. Make a paper 
pattern of them as they are to be and placing this pattern so 
that its edges will come within a seam's width of the edges 
of the girdle, observing the correct slant, mark the scallops 
carefully and stitch in the marking. Trim so that only a 
small seam will be left and clip back at the points to within 
a thread or two of the stitching and trim the seam near the 
points as close as it is safe. Now turn the underfacing over 
the end of the girdle so that their wrong sides will face and 
work the material out close to the seam around the scallops 
so that the points between will be brought out sharply and 
the edge will be smooth. 

In making a deep plaited girdle, such as shown in the 
second illustration of Fig. 420 the same principle will apply 
as given for the narrower ones, that is, divide the distance 
between the edges of the girdle and the edges of the plaits 
equally. It will be observed that since the girdle is deeper 

Page Twenty-One 



in the front than at the sides, the distance between the 
plaits is also wider. 

When making a lingerie gown the material not being 
exactly suitable for actual princess development the boned 
girdle will be found most handy and appropriate for uniting 
the waist and skirt. Both skirt and waist should be, of course, 
models suitable for development in thin materials. No lining 
is used in either skirt or waist of these gowns, but a prin- 
cess slip of lawn, thin silk or one of the cotton linings that 
so closely resemble silk, should be worn unde^r the trans- 
parent gown. It is not necessary to cut the full length of 
the waist, but only to the waistline, as the girdle will 
extend an inch or more above the waistline. The girdle 
will extend well down over the skirt also, but it is better 
not to attempt to save by cutting the material shorter than 
to the waistline, otherwise the fitting and joining to the 
girdle will be difficult. 

Prepare both waist and skirt for fitting in the usual 
manner. Run a strong gathering thread at the top of the 
skirt and the bottom of waist and if there are plaits or tucks 
arrange these before putting in the gathering thread; cut, 
and fit the girdle foundation, making it to close at either 
front or back to correspond with the closing of the dress. 
Fit both waist and skirt carefully. Make any needed altera- 
tions and pin the girdle on arrangning the fullness or tucks 
or plaits in both waist and skirt as they should be and pin 
in place. Remove the garment carefully after fitting, and 
with thread of contrasting color, run a line of basting 
threads on the waist at the upper edge of the girdle and on 
the skirt at the girdle's lower line; then remove the fitted 
girdle, so that waist and skirt may once more be divided 
into two pieces so as to be easily handled in case any al- 
terations are needed. Put in another gathering thread in 
the side and back of skirt and the front and back of waist 
a seam's width inside of the first row, if there is much full- 
ness. 

The seams of the waist and skirt may be finished, but 
leave the closing of the gown and the bottom of the skirt 
until after the girdle is adjusted. 

Figure 421 shows the method of preparing a Girdle of 

Page Twenty-Two 



Embroidered Insertion. Stitch the seams of the fitted foun- 
dation, press them open and stitch the featherbone at each 

seam and 
finish the 
girdle as 
p r e V iously 
i n s tructed 
for an un- 
lined one 
except the 
ends which 
are turned 
Arrange the 
embroidered 




Fig. 421. 



and finished with the closing of the dress, 
lace or embroidery on the foundation. If 
bands are used turn under one edge and apply a row to the 
top and another row to the lower edge of the girdle foun- 
dation. For the width of girdle illustrated in Fig. 421 
three rows of the insertion were required. If the 
insertion had been a little narrower an extra row might 
have been needed, even though necessary to lap the edges 
at the narrowest places. Shape the insertion by laying 
little dart-like plaits in it, and if these can be made to come 
at the seams of the foundation so much the better. Secure 
the lapped edges by hemming them down closely ; unless the 
insertion is quite heavy it will not be necessary to cut away 
the lapped edges on the under side. Both edges of the cen- 
ter band should be turned under, but the toward-the-cen- 
ter edges of the two outer rows should be left out flat in or- 
der that the center one may be stitched to them wherever 
greater width of girdle requires greater separation of the 
insertion bands. When lace insertion is used, this contin- 
gency must be provided for by lapping the rows more in the 
narrower portion of the girdle. After the rows of insertion 
are basted together stitch them. Baste the girdle to the waist 
and skirt using the colored basting lines on each as a guide. 
Now try the gown on once more to see that the girdle fits 
properly and turn back the edges with that of the gown. 

Another pretty model is shown in the lower illus- 
tration of Fig. 422 and a very appropriate one for a girdle 
varying in width. It has a band of small tucks run- 
Page Twenty-Three 



ming perpendicularly in the center 
finished on either edge with a band 
of insertion or lace, the tucked 
band being decorated with rosettes 
of lace or flat lace or embroidered 
medallions at regular intervals. 
If no lining is preferred, cut and 
fit a foundation from silesia over 
which to shape and make the gir- 
dle. In this case the bands are 
pinned to the foundation and the 
bands basted together without per- 
mitting the basting to go into the 
foundation. When the shaping and 
basting is completed the pins are 
taken out, the girdle let loose from 
the foundation, and the stitching done. The marking for 
the girdle on the waist and skirt may be done from the fitted 
foundation as has just been described. 

A skirt and waist may be combined very effectively in 
an unlined girdle made of lace or embroidery bands and 
tucking as shown in the upper illustration of Fig. 422. 




Fig. 422. 



SASHES. 

Since the sash or sash drapery is a distinguishing 
feature of many dressy costumes, it is very necessary that 
it be worn in the most graceful and becoming manner, at- 
tached in the right way and at the right place, for its chic 
effect depends almost entirely upon how it is worn. The 
girdles to which the sashes are attached are made just as 
has already been instructed depending upon tHe width and 
style of girdle, the only new feature which need now be 
considered being the sash itself — when and how it is worn 
and finished. Any soft silk is suitable for the sashes ; gen- 
erally a messaline silk oi satin or crepe meteor is used, al- 
though many are seen of crepe de Chine to be worn with 
dresses of the same material. Also they are often made 
from wide ribbon, either flowered or plain and finished 
with heavy silk fringe, knots, tassels, etc., at the ends. Or 
designs may be braided upon them in soutache. Bordered 

Page Twenty-Four 



goods might be used with the border edge at the sash ends. 
These girdles and sashes may be worn with skirts fin- 
ished at the regulation or high waistline, and are equally 
suitable for both. They play an important part in summer 
dress and here are usually made of some contrasting color 
of ribbon, chiffon, silk or lace. And on soft lingerie gowns 
they are especially fittmg, giving a dainty and becoming 
touch. They can be adjusted in such a way as to lengthen 
the lines of the figure and decrease the apparent size of the 
hips. Some women will need long sashes, others short ones. 
For the slender figure a knot tied but a few inches below 
the waistline with the sash only moderately long is very be- 
coming, while for the stout form the knot snould be tied 
much lower, placing less emphasis on the hips and the ends 
long producing the effect of slenderness. 

The ends generally depend from a buckle, bow, rosette 
or a number of upstanding loops and this finish should come 
at the back or the left side of the front as a rule. For the 
young girl and misses the bow at the back makes the pret- 
tiest finish of all, the ends being long and allowed to fall 
well over the skirt, but women of quieter tastes often find 

the finish at 
the side more 
becoming. For 
instance the 
one depicted 
in the first il- 
lustration of 
^Fig. 423 is a 
most appro- 
priate one for 
a slender form 
as the wide 
shirred girdle 
tied rather 
closely to the 
waistline will 
'''s-^as. tend to in- 

crease the size and shorten the lines. The knotting is at 
the left side of the front, a little below dart length; how- 
ever, the opening is at the back, the narrow sash ends fol- 

Page Twenty-Five 






low the girdle for a short space, and then slope down 
over the hips and may be fastened in the short loops as in- 
dicated in the illustration, a loose knot or possibly a sou- 
tache ornament, etc. ; or if desired, the sash may be tied to 
show a loop with the knot, and the ends finished with fringe 
and tassels. For the stout figure this 
girdle may be made about half the 
width, the sash brought together a 
little lower down — the same finish 
being used — ^but the ends left longer. 
If the lower edges are left plain, the 
sash might be knotted within a few 
inches of the bottom. Other sashes 
are finished to fall from the waist- 
line, either at the back or side front, 
the pieces often being quite wide, and 
are attached to the girdle beneath a 
buckle or other ornament. A bow 
is also often used for this purpose. 
The ends may be cut either straight 
across or on the bias at the bottom 
and be finished in any of the ways 
mentioned. Many of the wide sashes 
are gathered in at the bottom, and 
have ornaments attached with the 
appearance of tassels. They are 
made from narrow strips of the sash 
material a few inches long. (See 
second illustration of Fig. 423) . The 
girdle shown in the third illustration 
may fasten either at the side where 
the sash is attached or at the back. 
The lower ends of sashes of suitable 
material may have the threads 
drawn and be hemstitched, making 
the hem not less than three inches 
deep, and where the threads cannot 
easily be drawn a hem may be cut and 
attached to the ends by means of one 
of the fagotting stitches a number 
of which have been given in previous lessons, such as the 

Page Twenty-Six 




*i''t 



Fig:. 424. 



sheaf, herringbone, etc. Above the hem a simple band de- 
sign in beads or French knots will add to the decoration. 
The hemstitching might also be introduced down the sides, 
which will add much to the beauty of the sash. 

Figure 424 shows a pretty finish for the lower part of 
sash ends which is made from soutache braid and crochet 
silk, which may be made at one-half the cost of those pur- 
chased at the store. The portion at top of tassel is formed 
of two two-inch squares stitched together across two sides 
to form a cup for the ends of the sash, which are plaited to 
correspond to the width from point to point and shaped at 
the bottom similar to this covering. To make, take a piece 
of stiff wrapping paper and mark on it a two-inch square, 
then divide the square mto ten or sixteen squares as shown 
in the illustration. If one prefers it more open use the ten 
squares. Baste the braid over the pencil marks and fill in 
with spider web, using buttonhole twist if the smaller 
squares are employed or the chochet silk if only ten squares. 

Start by bringing the needle through the corner of one 
of the squares, then across to the opposite corner. Now 
twist the silk back around this bar a few times until the 
starting point is reached, then take a few stitches, as in- 
visibly as possible, in the braid until the center of the square 
is reached, carry the thread straight across and twist back, 
then along edge of braid and put in bars from the side and 
second corner of this square. The last bar is carried to the 
opposite side as in the others but is twisted only as far as 
the intersection of the bars where they are tied together by 
passing the needle under the entire group and bringing it up 
so that the working thread will come under the needle. To 
make the spider, work under and- over the bars alternately, 
but since the bars are an even number, it will be necessary 
to pass under or over two bars to start with every time a 
round is made in order to have the rounds alternate. When 
the spider is large enough, (which will probably require 
three or four rounds, keeping the threads of each close and 
compact) and until you come to the bar the last half of 
which is not twisted, then take a little stitch through the 
last coil and the bar to hold the threads of the wheel securely 
in place, finish bar to the edge of the material and 
continue in this way until all the squares are filled. Or, 

Page Twenty- Seven 



when putting in the bars each might be continued to edge of 
the motif and this would save time and stitches. 

For the tassel wrap the crochet silk about 150 times 
around a book nine inches wide, cutting it where the book 
opens. Tie the strands together securely in the center with 
a piece of the silk. Afterwards fold the strands in half. 
Now take six lengths of the soutache 18-inches long, and 
tie three knots on each piece about two inches apart, and 
place these to hang around the tassel, stitching them secure- 
ly at the top and tying in position around the tassel about 
an inch and a half from the top this time using the soutache, 
and with the long end of the braid left from tying, crochet 
around this band seven double crochet stitches and continue 
rounds of double crochet to almost the top of tassel. Then 
work a double crochet in every other stitch to terminate. 
Make two chains from an inch to an inch and a half long to 
suspend the tassel from the bottom point of the cup already 
made. It will require 18 yards of braid and one spool of 
crochet silk for a pair of tassels. 

The tassels are very handsome made entirely of rib- 
bosene, which is used in place of the crochet-silk and the 
soutache. Ribbosene comes in pieces of thirty-six yards 
which is sufficient to make a pair of tassels. 

Other finishing for both the upper and lower ends of 
the sash together with additional illustrations of the knot- 
ting will be given in the American Dressmaker. 

The material required for a girdle will depend of course 
on the depth and style of the girdle and the length of the 
sash ends, also the width of the material and size of the 
waist. For instance, to make the girdle and sash in the 
first illustration in Fig. 423 for a 24-inch waist will require 
all the way from one and seven-eighths yards twenty inches 
wide to three and an eighth. A close estimate may be made 
by taking the waist measure, considering the depth of the 
girdle, the length of sash ends and any additional for the 
finish such as loops, rosettes, etc., and taking into account 
the width of the material. 

Belts and sashes for children are made much after the 
same fashion as for adults, the main difference being that 
there is no boning used for children. The belts are generally 

Page Twenty-Eight 



attached to the waist and skirt and a lining or facing is put 
on after the joining to make the belt more durable as well 
as to conceal the raw seams. Frequently there is a hint of 
a dip in front which may be obtained by cutting the belt a 
little circular, or by holding the top edge in front a little full 
as it is bejng sewed to the waist, and stretching the lower 
edge as it is being sewed to the skirt. The easiest way is to 
shrink the belt in the desired shape. After joining both 
edges of the belt to the dress, either one or two rows of 
machine stitching may be used at the top and bottom of the 
belt and across the ends, then the lining is cut the same and 
put on from the inside. These belts may be made of the 
same material as the dress itself, or as the trimming, of 
embroidery or of beading and ribbon. If made of the ma- 
terial then a little piping of contrasting m{>*terial gives a 
very pretty finish. 

Separate belts are cut the width and length desired and 
interlined with light weight canvas and lined according to 
instructions given for the tailored belts for adults. Both 
ends are usually finished in a pointed shape and a button and 
buttonhole or hook and eye fastens them. These belts are 
usually worn with Russian blouse suits. 

Sashes are generally made of ribbon and are fastened 
either at the center back, or left front. The ends may be 
left almost as long as the dress skirt, or short, and the fast- 
ening concealed with rosettes or bows. The bows are of the 
double-bow knot kind and may be made with long or short 
loops depending upon the width of the ribbon. 



Page Twenty-Nine 



QUESTIONS. 

1. (a) Name at least five different kinds of belts and 
girdles, (b) How should the interlining of a tailored belt 
be cut? 

2. Tell how the foundation for a tailored belt two or 
more inches wide is boned and where. 

3. (a) Explain the covering of the belt in detail, 
(b) How is the foundation cut when the belt is made on 
the bias? 

4. (a) With what is a tailored belt stitched? (b) 
Explain how the stitching is done, (c) How is the belt 
lined? 

5. (a) When a belt is made in more than one section 
explain how the foundation is cut. (b) How is the belt 
put together? 

6. (a) What kind of a girdle should be worn by one 
who is short-waisted in the back? (b) One who is long- 
waisted in the back and short in front? 

7. How may the location of the waistline be apparent- 
ly raised or lowered by the belt used? 

8. How may the straight canvas foundations as shown 
in A and B, Fig. 412, be fitted? 

9. Of what material and how may narrow crushed 
belts or girdles be made? 

10. Describe a very practical crushed girdle for an 
average figure. 

11. How may a shirred belt or girdle be made? 

12. Describe the making of a plaited girdle. 

13. Explain how the silk cording used in motif and 
pendant in Figs. 416 and 418 is made. 

Page Thirty 



14. What draft is used for the deep fitted girdle and 
how are the different sections placed on the material? 

15. Describe how these girdles may be shaped and of 
what material? 

16. What rule applicable to the narrow plaited girdle 
holds good in the deep ones? 

17. Tell how a girdle of embroidered insertion is 
made. 

18. Name some of the materials of which sashes are 
made and some of the ways they are finished. 

19. (a) Describe the kind of a sash both as to length 
and depth of girdle suited to a slender figure, (b) A stout 
form. 

20. What is the main difference in belts for children 
and adults? 



Page Thirty-One 




GENERAL OFFICES. 

View of General and Executive offices of Amer- 
ican College of Dressmaking, taken from Reception 
Room showing Advertising Department in foreground. 
Over $50,000 spent annually in placing the American 
System of Dressmaking in the hands of American 
women. 



Tell your friends of our work and have them 
write for our booklet telling how we teach dressmak- 
ing by correspondence. 

Address : 

AMERICAN COLLEGE OF DRESSMAKING. 
Kansas City, Mo. 



THE 

AMERICAN SYSTEM 

OF DRESSMAKING 



A Course of 

Instruction by Mail 

in the 

Science and Art 

of 

Successful 

Dressmaking 

And Ladies' Tailoring 



Lesson No. 22 



The American College of Dressmaking 

(Associated Training Schools, Proprietors.) 

KANSAS CITY, MO., U. S. A. 



Copyrighted 1906, 1907, 1908 and 1909 
by J. M. Stelle 

Copyrighted 1910 and 1911 
h}) Associated Training Schools 



Jill rights reserved. 



Printed in the United States. 



Cl)e 



American s>p^ttm 
,ofJ5re00mafeing 

TAUGHT ONLY BY THE 

9meritan College of Bressmafeitig 
Kansas €it^, iHo. 

Miss Pearl Merwin, Supervisor. 

Lesson No. 22. 

BRAIDING. 

This mode of dress decoration has had a remarkable 
revival during the past seasons. Braiding of any descrip- 
tion, whether carried out in cotton braids or cords on lin- 
gerie or cotton net dresses or blouses, or in silks on cloth 
or chiffon gowns, affords a trimming scheme which appeals 
to the most refined tastes. It is probably the simplest as 
well as the least expensive of any form of garniture produc- 
ing as pleasing an effect. The time spent in accomplish- 
ing the work is well expended as the results amply repay 
for the labor. All widths of braids may be used, depend- 
ing on the spacing of the pattern or the purpose for which 
it is used. When braids first came out black and white 
were the only colors obtainable. If one wanted something 
different the braid had to be dyed. Nowadays braids can 
be had in almost any shade. 

The wide braids are used principally in straight lines, 
and in borders and where the design is not compact. Sou- 
tache braid holds favor with most women OTi account of the 
rapidity with which one can work up any design with it, 
its adaptability to nearly any design and still another 
recommendation is the neat and dressy appearance it be- 
stows on a garment witn so little trouble. Trimming braids 

Page Three 



come in silk and mohair for silk and woolen fabrics and in 
the mercerized and linen for wash goods. 

Cotton braids on wash materials should be shrunken, 
as well as the material, before putting on. If this is omit- 
ted the braid will cause the goods to pucker after launder- 
ing. White cotton braids occupy an important place in the 
economical decoration of the summer wardroue if they are 
chosen with an eye to their laundering possibilities. If a 
braid is too thick it will pucker when washed, making it 
impossible to iron to the desired smoothness. The nar- 
rowest cotton braid makes a pretty trimming on chambray 
and pique and is especially appropriate for little girls' 
dresses, while flat white Hercules braid is more boyish for 
blouse suits. New varieties of braid are being brought out 
by the manufacturers m response to the demand, and old 
varieties revived. Cords are also employed in braiding, 
therefore the list of braids and cords now being used is a 
large one and embraces such as rat tail (one of the newer 
ones — a soft, round woven braid) pig tail, coronation, tu- 
bular, etc. 

As a rule the wide braids are sewed on both edges. It 
is necessary however, to sew only along the upper edges 

where the lower edge of the 
braid will hang down and is 
put on in a straight line. In 
patterns such as shown in 
Fig. 425 the braid must be 
sewn on both edges so that it 
will lie flat to the material for 
the secret of good braiding 
with the wider braids is to 
have it lie so closely to the 
Fig. 425. material that after it is fin- 

ished and pressed it will appear as part of it. In sewing a 
straight row of wide braid on cuffs, sailor collars, etc., with 
the forefinger and thumb of the left hand hold the braid 
flat on the material an even distance from the finished edge 
of cuff, or whatever it may be, and sew down along the out- 
side edge. The braid is not fulled in the least nor should 
it be stretched, but held perfectly smooth. The sewing 
stitches should be small and even — as invisible as possible 

Page Four 




— and extend completely through to the under side of the 
background. The stitches on the under side, however, may 
be from a quarter to three-eighths of an inch" long. Draw 
the thread evenly but not tight, and at sharp turns secure 
the braid with back stitches. The matter of the thread 
used for sewing on braid either by hand or machine is an 
important one. Use silk thread, unless braiding with white 
on a wash fabric, as cotton fades in time and the appear- 
ance of the trimming when cotton thread is used certainly 
deteriorates in consequence. Another point in favor of silk 
thread is that it is easier to braid with it. 

The upper illustration in Fig. 425 shows a simple wave 
pattern in which the braid is lapped over upon itself at every 
turn and is put on without a pattern by marking off the 
depth and the length of the braid between the turns by pins. 

The center illustration in Fig. 425 indicates braids of 
two tones interlaced wnich is quite pleasing. The braids 
are carried along side by side and two threaded needles are 
used, for, to interlace them one braid is sewed across the 
other alternately. The corners must be mitered by taking 
up the extra length in the edge of the braid opposite the 
point by small running stitches underneath. When the 
point is reached before putting these stitches in, in order 
to see just where they are to come, turn the free part of the 
braid back from the point on to that that is being sewed on 
so that their edges will be even and hold both thicknesses 
of the braid down with the needle by placing it across the 
braid, bringing the point of it out at the point in the braid. 
Then turn the free end of the braid back in position. If 
the length has been taken up correctly the needle will be 
perpendicular with the base of the design. (See position of 
pin in second and third illustration in Fig. 425) . When the 
correct line in which to put in the stitches across the two 
thicknesses of braid at the point has been ascertained, put 
them in. Bring the points out clear and distinct. If the 
braid is not held firmly and sewed on securely it will pro- 
duce an irregular, characterless piece of work. If the edges 
of the braid to and from the point form a perfect square 
then they are said to be at right angles with each other and 
the edge of the "take up" will come clear out to the edge 

Page Five 



of the braid. In that case, turn it back on itself far enough 
to be entirely concealed when the edge of the braid is 
sewed down. In the second illustration of Fig. 425 it will 
be observed that the edges of the braid form an angle at the 
turn which is greater than a right angle and in that case 
the take-up will not come out quite to the edge of the braid. 
In the third illustration of Fig. 425 the upper points are con- 
siderably less than a right angle and in these points the 
take-up will come quite a good deal beyond the edge of the 
braid, therefore turn it back on itself, as explained in case 
of a right angle, so that it will be hidden by the edge of the 
braid. If, however, the braid is so heavy that turning it 
back in this way would make a ridge, then this surplus braid 
underneath is cut away. The points at the lower edge of 
the design are greater than a right angle, similar to those 
in second illustration. 

The edge of the braid upon which the sharpest points 
occur is the edge that it sewed down first. For example, in 
the second illustration to begin with, sew the lighter shade 
of braid along the lower edge as far as the point across 
which the pin is placed, miter, the corner, as has been ex- 
plained, and continue along the upper edge to point marked 
2. Then take up the darker shade and sew along the lower 
edge to point marked 3 and from the point opposite 3 to 4. 
Next take up the lighter braid and thread at point opposite 
2 and continue on lower edge to 5, then from point opposite 
5 along upper edge to 6 and continue to alternate in this 
way until the entire length is sewed on. After one edge of 
both braids are sewed down start at the beginning again 
and sew the free edges down taking a stitch underneath 
where the braids overlap, as long as the braid is wide. 

In sewing on the braid as shown in the third illustra- 
tion of Fig. 425 begin and sew along the upper edge to point 
across which the pin is placed, miter the corner, and con- 
tinue from the point near the head of the pin to point 
marked 2, then along the lower edge to 3 and from the 
point opposite 3 to 4 and so on until all is sewed down. 

To follow these designs without a stamped pattern use 
a measuring card with spaces accurately marked. After 

Page Six 



a little practice with the card one soon acquires facility and 
skill in original work. 

Fig. 426 shows a simple braiding design in loops. On 
either edge of wide braid will be found a heavy thread for 
the purpose of pulling it up so as to fit in looped and circu- 
lar outlines. The braid should be drawn up ahead of the 
loops and they must be laid into position in some instances 
before beginning to sew it down, that is when the over- 
lapping braid is to be sewed down first. Begin by sewing 




Fig. 426. 

down the outside of the braid first. It will be observed in 
the first and second loops that the underlapping braid is 
sewed down first while in the third and fourth the overlap- 
ping braid is sewed first, therefore, with these two it will 
be necessary to draw the inner edge of the braid exactly as 
it is intended to be before beginning to sew them down. The 
corners are mitered just as has been described. If there 
is a long length of braid to be put on in loops and circles 
instead of pulling the braid up so far from the starting 
point pull it up only for two or three loops and conceal the 
surplus pull-up thread under the braid. In order that this 
thread cannot pull down at the inner point at top of loop, 
in mitering the point be sure to fasten it securely by tak- 
ing a couple of stitches through it. The thread may then 
be pulled up again from this point without any danger of 
disturbing the outline of the loop. In some designs there 
are scrolls or outlines on the order of the letter "S" or a 
figure eight in which there occur double curves and in that 
case first one edge of the braid and then another must be 

Page Seven 



pulled up in order to conform with the outline in the pat- 
tern, therefore, the pull thread should be secured as de- 
scribed both when starting and finishing the pull-up. 

Many patterns showing continuous flowing lines 
are intended for a combination of embroidery or bead work. 
In fact, the interspersing of all kinds of effective stitches 
and the introducing of many colors in a single design have 
added to the richness of both intricate and simple patterns. 
In some cases the silk, cotton or linen floss are worked in 
while the fabric is held in a hoop and before the braid work 
is begun. Some designs show inset patches of transparent 
net, darned or beaded, and held in place with the braid 
which surrounds them. Beads of various sizes and shapes 
contribute color in opaque or iridescent glass. An ideal way 
of introducing a rich color note upon an evening gown is 
the filling in of open 
spaces in braided 
motif with tiny 
beads, as shown in 
the last three il- 
lustrations of Fig. 
427. The first il- 
lustration shows an 
Egyptian motif for 
embroidery with 
braid, but this 
might be carried 
out with beads in- 
stead of the em- 
broidery. ^*^- 427. 

By studying braiding designs they will be found to be 
either round or angular in general character; spreading 
or compact ; simple or complicated. Too elaborate braiding 
seems only to detract from the general effect. A single 
motif or a border done in a good design may be all that a 
garment demands. 

It is an important point in braiding to have as few 
broken lines as possible, and in selecting a pattern one 
should always choose with this in mind, for' not only is it 
irritating to be frequently ending off the braid, but it also 
hinders rapid work. Fig 428 is an excellent example of a 

Page Eight 









Pig. 438. 



continuous pattern in a 
waist front with collar and 
cuffs to match, the dotted 
lines being given as a guide 
in placing the pattern on 
the material to be braidod 
but are not to be stamped 
with the lines of the design. 
When breaks do occur if 
the wide braid is employed, 
take small stitches across 
the braid about a quarter 
of an inch long through and 
through drawing them up 
just enough to hold the 
braid its regular width, 
then go across the braid 
again to the starting point, 
turn the raw edge of the 
braid under far enough so 
that the running stitches 
just put in will not show and fasten the end of the braid 
down. In case a scroll extends from another scroll then 
fasten one end of the short scroll under one edge of the 
braid of the longer, securing the end to keep the braid from 
spreading and also finishing the other end of each as just 
described. If it is soutache braid that is used, pierce an 
opening with a stiletto and push the cut end of the braid 
through to the wrong side of the material. This end should 
be well fastened so that it will not ravel. First take a firm 
stitch or two through the braid about a quarter of an inch 
from the opening through which it came and wrap the 
thread tightly around the braid three or four times, then 
finish it off and fasten down to the material being careful 
that it does not show from the right side. Sometimes it is 
possible where the lines are not too far apart, to put the 
braid down through one hole and up through another with- 
out cutting it. 

In applying coronation braid, sew it on by hand with 
fine thread of the same color taking a stitch or two over 
each narrow space of the braid and a few short stitches from 

Page Nine 



underneath, through the thick portions between to hold it 
firmly in place and maintain the design. Rat tail and 
tubular braids are put on by means of slip-stitches. 

It is not only the braid that must be considered in this 
lesson, but fabric of the background as well. Each ma- 
terial shows its own peculiarities as we work, and a little 
help in advance may facilitate the carrying out of patterns 
on such materials as velvet, satin, chiffon, and net. The 
pile of the velvet is apt to throw aside the braid and thus 
make it difficult to follow the outline of the design accur- 
ately. Realizing this before starting out, it will be readily 
seen that such smooth braid as satin rat tail would only 
add to the difficulty. A flat braid like soutache will facili- 
tate the work, which in this case, is sometimes done with 
cotton, in place of silk, to prevent slipping. 

Braiding on velvet should invariably be done over a 
stamped or traced pattern. If the stamping is not used 
and the pattern to be worked out is a small motif or a simple 
design with few lines, it may be traced upon the velvet. 
To do this fasten the velvet face downward, on a drawing- 
board or soft wooden table with thumb tacks. Use them at 
various points to insure firmness and flatness. Make a copy 
of the design you wish to transfer on tracing paper (which 
is tougher than tissue paper) , Fasten this on to the wrong 
side of the velvet with more thumb tacks and then with a 
soft lead pencil sharpened to a blunt point, (or the smooth 
blunt end of a rubber hair pin is even better) trace the 
design most carefully. If the pressure is even and firm the 
entire pattern will be found on the right side of the velvet 
in depressed lines. These slightly sunken lines can be read- 
ily followed and assist the braid to fall in place as you work 
and thus make a home-traced pattern actually better than 
a stamped one. 

Satin is a difficult material to braid on because of its 
smooth, slick surface and also because it is likely to pucker 
beneath the work. You can only prevent the slipping of the 
braid by carefully holding it and by accurate sewing. Also, 
select the braid carefully that is to be used for the pucker 
is often due to using braid that is too heavy — ^for example, 
one of the heavy qualities of soutache on satin is an almost 

Page Ten 



impossible combination. For a more certain result use a 
narrow, silky, pliable braid for a medium heavy satin. 

To braid on net you will also need a pattern on tracing 
paper. This should be basted against the back of the net so 
that the pattern will show through. Baste several lines 
of extra stitches through the center of the net so as to keep 
the weave of this delicate fabric straight while braiding. 
Back-stitches are a necessity when sewing braid upon an 
open-meshed material. Brussels or filet net are both good 
materials for backgrounds in braiding. 

For chiffon work there may be fewer back-stitches but 
the basting upon the temporary paper foundation must be 
most accurate. 

The same is true in wash fabrics to be braided as those 
to be embroidered, that is, they should be shrunken before 
the stamping and braiding is done. 

Soutache braid may be sewed on by hand or machine. 
In sewing the braid on by hand it may be sewed through the 





Fig. 429. 

center or on one edge. Sometimes both methods are used 
in the same design. (See Fig. 429). When the braid is 
sewed on the edge slip-stitch it closely with a fine thread. 
It is advisable, when braid is sewed on edgewise, to use 
large embroidery hoops or a frame. This keeps the work 
well stretched and prevents the material from sagging 
between the work. This method is not advisable, however, 
on wash fabrics, as the laundry is too severe for it and 
pressing is out of the question. If the braid is put on flat 

Page Eleven 






by hand, sew through the center and let about one in every 
four stitches be a back-stitch to insure firmness. 

A very short stitch should be taken on the upper side 
and a long one underneath. The braid should be held a trifle 
slack on the straight portions and the stitches need not be 
taken closer than three-eighths of an inch apart, but around 
the curves the stitches must be taken close together, so as 
to follow the outline of the design accurately. 

Where braid is sewed on by the machine by means of a 
braider the pattern is basted on the wrong side of the 
material to be braided and in case the fabric is filmy a 
paper should be placed under all. Fig. 430 shows a bolero 

of filet net over mous- 
seline de sole braided 
in silk thread and dots 
embroidered in satin- 
stitch to match in 
color. In this case 
baste the net on the 
mousseline and the 
pattern on the back of 
the mousseline, i f 
braided on the mach- 
ine with a braider, and 
a piece of paper under 
all. If, however, the 
braiding is done by 
hand, the pattern is basted on the right side after net and 
mousseline have been basted together. 

Straight lines, broad curves or a waved line may be 
sewed on the machine without a braider by using a fine 
thread, and loose tension, also a short presser foot, that is, 
one which does not extend far beyond the needle. In this 
event, it is, of course, stitched from the right side and in put- 
ting it on hold the material perfectly smooth under the pres- 
ser foot and crowd the braid so that it will be eased on, other- 
wise the material is apt to draw and pucker. It is not ad- 
visable that an amateur attempt to do any braiding on the 
machine except in the simplest designs as mentioned above. 
It is true you will find in ready-made garments very elab- 
orate braiding done by the machine but it must be remem- 




Fig. 430. 



Pasre Twelve 



bered that factories have special machines for it and not 
merely the braider that comes with the ordinary machine. 
One may with practice, however, be able to do very credit- 
able work on the machine and has the advantage of being 
quicker, nevertheless braiding by hand is preferable as a 
certain elegance, that no amount of machine trimming can 
effect, stamps a garment that has a bit of hand-work on it. 

Formerly braiding was used on heavy fabrics only, 
such as broadcloths, suiting, velvets, or silks, but now fash- 
ion dictates that many new varieties of materials should be 
braided some of which have already been mentioned in this 
lesson. Mousseline, chiffon, heavy and fine net, etc., are 
heavily braided in cords and soutache. Many of the stamp- 
ing patterns may be used as a whole, or cut in sections and 
only a part used, or several parts of one design might be 
combined with another. To fit a straight braiding design 
around corners and curves it will be necessary to slash the 
pattern at intervals very near the design on either edge 
and in some places the edge will 
spread apart and in others over- 
lap and at the corners will be 
mitered. (See Fig. 431 showing 
how to arrange a straight design 
on a sailor collar and lapels) . In 
accomplishing this see that the 
design is taken up so that there 
will be no break in the lines but 
continuous and that the corners 
will be exactly alike. In or- 
der to do this it may be neces- 
sary to slash and spread or to 
overlap the pattern just half 
way between the corners. When 
correct fold the part taken up at ^'^- '*2i- 

the corner so that it will come on the under side and not 
interfere with the stamping. Should one have a design 
with a distinct up and down which should face as in a 
panel effect, and on either side of blouse fronts, if used 
perpendicularly, stamp the design on another piece of 
paper which would give the design reversed to be used 

Page Thirteen 




for one side and the original pattern may be used for 
the other. 

Considerable elaboration is permissible upon the dressy 
model, whether of lace or silk, while for the tailored styles 

simple patterns are best. Fig. 
432 shows how effectively an 
entire dress may be trimmed 
in a simple little pattern. 

The manner in which the 
design is applied to the ma- 
terial to be braided depends 
upon the texture of the fabric 
and the method employed in 
braiding it. A great many 
dressmakers prefer to use the 
braiding patterns without 
transferring them, by simply 
basting the pattern on the ma- 
terial, being careful to have it 
in the correct position and 
then doing the braiding, af- 
terward tearing the paper 
away. This method especial- 
ly commends itself when the 
material is dark, and also 
where the material is not firm 
for in that case it would be 
necessary to baste paper on 
it as a foundation to keep it 
from slipping and twisting 
when the stamping and braid- 
ing were done. Therefore, by 
^^S' 432. basting the pattern on the 

right side of the material it will save the stamping and 
answer for the foundation to hold the goods in shape until 
the work is finished. "Where the material is such that the 
pattern may be seen through it, such as sheer fabrics and 
nets in light colors, then baste it over the pattern, as it is 
easier to tear the paper away from the back of the material 
than where the pattern is between the braid and material, 
as referred to above. Also, if a hesitancy is felt in regard 

Page Fourteen 




to stamping the design on fine cloth it will avoid any risk 
to employ either of the methods just described. When the 
work is finished the braid should be pressed, provided it 
has been sewed on flat. This is done the same as pressing 
embroidery, that is, by placing the right side down on a 
soft press board and ironing with a warm iron on the wrong 
side. If it is material that will admit of it, place a cloth 
wrung out of water over the wrong side before pressing. 
The braiding sinks into the padding allowing the goods to 
press absolutely smooth so that the braid stands out. 

Now just one word as to the color of braid to be used. 
Braids are seen in contrasting color, but the prettiest models 
show the braid in self-color, 
that is, the same as the ma- 
terial, although not always 
of the same tone, brown on 
tan, deeper shades of blue 
on blue, and so on with the 
other shades now fashion- 
able. 

Braiding is very effec- 
tively combined with em- 
broidery and an exceeding- 
ly pretty model of this kind 
is shown in Fig. 433. It 
may be adapted to a variety 
of materials. For the 
heavier linens and cotton, 
soutache, coronation or tu- 
bular braid is used with the 
embroidery done in mercer- 
ized cotton or on silk or fine, 
woolen in silk braid and 
thread. The braid and em- V" 

broidery thread in both ^*s- '*2^- 

cases may be the same as the material but in this particular 
instance a touch of color is added in the embroidery. The 
blouse is of white material braided in white braid and the 
flower and leaf sprays worked in solid embroidery of delft 
blue. 

Figure 484 shows how charmingly braiding, embroid- 

Page Fifteen 





ery and lace may be combined. This design may be applied 
to any wash fabric and the braiding should be executed in 
very fine silk or cotton soutache. The dots, petal and leaf 
outlines may be worked in eyelet or satin-stitch according 

to the amount of transpar- 
ency desired and the inser- 
tion should be of Valen- 
ciennes, either French or 
German pattern, or may be 
of plain net outlined by the 
braid. If the work is ap- 
plied to linen or one of its 
numerous imitations, then 
a heavier mercerized sou- 
tache may be used, the lace 
insertion being omitted or, 
if used, should be Cluny, 
torchon or Irish crochet. 
If made up with the lace 
first after transferring the 
design, baste and sew the 
insertion on and work 
through both lace and ma- 
Fig. 434. terial. When the work is 
completed cut the material through underneath at the center 
of the insertion, trim ofl? a little of it, roll back the edge and 
overcast it with fine stitches. This insures a firm edge, thus 
enabling the worker to launder the waist without having 
the lace pull away from the material. This method of ap- 
plying the insertion will be illustrated in the next lesson. 

If the design is used on cloth or satin, braid may be 
used throughout, the insertion being omitted; or if prefer- 
red, solid embroidery may be substituted for eyelet and satin 
bands for the lace insertion. 

All sorts of things are decorated with braid at the pres- 
ent time which pertain to women's attire and in a later 
lesson braiding as applied to dress accessories and trim- 
ming will be taken up. The instructions given in this les- 
son ought to be ample on the handling of the different var- 
ieties of braids on various dress fabrics from the very begin- 
ning steps to the finished work. 

Page Sixteen 




STENCILING. 

Stenciling is a means of decorating by applying color 
through a stencil 

yf^.y): ir^i)i If'ft)^ 






Fig. 435. 



plate, which is a 
piece of perforated 
card — the perfora- 
tions forming either 
the pattern or the 
background. In Fig. 
435 the cut out part 
forms the design 
while in Fig. 436 the cut out part forms the background. 
The latter is the exception. There is a certain fascination 
about stenciling, which appeals to every one who has had 
any experience in this craft. 

The mechanical part of stenciling is easily learned but 
will require care and practice; then the selecting of the 
designs and colors in both paints and 
fabrics appropriate for the purpose for 
which they are to be used will require 
study and judgment, so give your whole 
attention to the work, begin at the be- 
ginning and go slowly, training both 
your mind and hands and you will have 
work that will repay you and prove a 
lasting pleasure. Stenciling will appeal 
especially to the woman who has little 
^r ""-"'^^w^ time for fancy work as it literally grows 
|^y|M^^lf|^ under one's fingers, and the rapidity 
Krllv«^l'l^ with which it is accomplished is not 
least among its charms. 

The making of the design and the 
stencil is the only part of the work 
which should offer any difficulties to the 
average ability. For those who do not 
wish to attempt this part of the work 
for themselves, designs and cut stencils 
may be bought. Then commencing with ready-made designs, 
one who has a taste for the work will soon find herself 
adapting and originating others to suit her own require- 
ments. She will discover wonderous possibilities in a piece 

Page Seventeen 




Fis. 436. 



of wall paper, and will be found a frequent visitor to Jap- 
anese art stores and since the Japanese are so far ahead of 
us in this work we will do well to study their designs before 
making our own. 

In designing a pattern for a stencil the most important 
feature is to see that the plate is held together well and that 
the ties which hold it together form parts of the design. 
This can be done by havmg the ties make the outline, or 
when floral motives are used, the veinings or the twists in 
the leaves or stems. (See Fig. 435). The more naturally 
the ties come into and form a part of the design the more 
interesting it becomes. Next, care should be taken that 
there are no points left on the plate which can be brushed 
up easily. If you are making your own design, first draw 
the design upon paper exactly as it is to be cut, then trace 
it upon the stencil board or manila paper by placing carbon 
paper face down upon the stencil paper, over this place the 
paper drawing and pin firmly in place. With a pointed in- 
strument such as a meat-skewer, slate or lead pencil, trace 
carefully, then remove the papers. If the impression left 
upon the stencil paper is not good and clear it is wiser to 
correct and strengthen with a pencil before beginning to cut. 
If one has no carbon paper, another way is to pin the stencil 
paper over the drawing and hold against a window pane and 
trace through. Perforated patterns may be bought and 
transferred to the stencil paper in the same manner as on 
fabrics. 

To make a stencil, get a piece of stencil board or, if that 
is not possible, manila paper of a heavy, firm quality may be 
prepared to take the place of it by saturating it in equal 
parts of linseed oil and turpentine to which has been add- 
ed japan-dryer to equal one-sixth of the combined oil and 
turpentine. This paper will be found to require less effort 
to cut than the professional paper, which is tough and re- 
quires hard pressure to cut the stencil. Manila paper can 
also be shellaced on both sides. Some workers prefer the 
shellac to the oil dressing. It is a question of personal pref- 
erence. In case the shellac is used, it will be better to cut 
the stencil before applying the coating, which will only need 
to be put around the perforations. When the pattern is 
transferred to the paper, it is ready to cut. This is the one 

Page Eighteen ' 



difficult process of the craft and requires patience and 
strength, for the knife may slip at any time and spoil the 
stencil. When cutting use a sharp pen knife or stencil knife, 
which you can buy for about 50c. Either knife must be 
very sharp to insure a perfect cut stencil. Have a small 
whetstone at hand with which to sharpen the knife-blade 
occasionally, in order to cut a clean, even edge. A metal 
ruler will be found of advantage when one wishes to cut a 
straight line, and manicure scissors, curved and straight 
will enable one to remedy any little errors made by the knife 
in cutting. Lay the stencil on a cutting board, a pane of 
glass, or any nard, smooth surface, one of the best being one 
or two folds of manila paper fastening all down by means of 
thumb tacks or if the glass is used paste the design to it 
here and there with mucilage. Hold the knife nearly up- 
right and near the point with a good pressure, and cut 
toward you. It is a wise plan to cut several repeats of a 
small pattern, as you can work so much more rapidly and 
easily than with a single motif in stenciling a running or 
continuous design. Leave a generous margin around the 
stencil, that it may be more easily handled and with less 
danger of soiling either hands or fabric. 

When the stencil has been perfectly cut, it is ready for 
the stenciling on the material and the next point to be con- 
sidered is the colors. The finished stencil should be kept 
under a weight until required for use. Several stencils may 
be kept in the same way, separated by sheets of oiled paper. 

As for pigments, the regular stencil-dyes or colors may 
be had of dealers who make a specialty of such supplies. 
Tapestry dyes for fabric-painting are good and any of the 
standard package dyes may be used. A package of each 
color required may be mixed and kept, closely stoppered, 
in its own glass vial, a little being taken out and thinned 
with water as needed. Indelible stencil pastes may be had 
in the following colors: Yellow, orange, pink, light green, 
deep green, deep blue, light blue, light brown, deep brown, 
magenta and violet. Oil tube paints are also used and the 
universal opinion seems to be that they are the best and the 
greatest variety of colors may be obtained from them. Six 
or eight colors will be sufficient for iall practical purposes to 
commence with, others being added to the list as one becomes 

Page Nineteen 



more proficient and ambitious. To those who are not fa- 
miliar with the names of the tube colors these suggestions 
may be helpful. Buy flake-white, King's yellow, carmine, 
Venetian red, Zinnober green, Antwerp blue, Vandyke 
brown and ivory black. These, except the carmine, cost 
eight cents per tube and you can mix almost any color from 
them. If any color needs to be toned down, a little black 
or white should be added according to the shade desired. 
Lighten any color by adding white, deepen the yellow to old 
gold by adding a little red and brown ; a bit of carmine add- 
ed to white gives pink while a little Venetian red added 
to this mixture dulls it to old rose. Add yellow to green to 
obtain greater brilliance or red to tone it down; for a deep 
olive green add a little blue and brown to the Zinnober. 
The brown may be lightened by adding red and yellow. 
Gray is improved by adding a touch of red or green to the 
blacK and white mixture. 

Some of the standards in addition to those given above 
are — in blues, the indigo, Prussian, cobalt and ultra-marine. 
A pretty, soft green is sap green, which may be used in com- 
bination with any color. The yellows are chrome (a pale 
yellow), gamboge (a deep shade) and ocher (verging on 
the orange) . Good reds are vermillion, carmine or crimson 
lake, light or Venetian red. Burnt sienna ts a soft light 
brown. An excellent pink may be obtained from rose mad- 
der by mixing a quantity of flake white with it, until the 
desired shade is obtained. Light purple and magenta are 
sometimes very effective used with green, black or other 
colors. 

Large tubes of flake white, gray and black should be 
always at hand. The white, as has been stated, is used to 
tone down the colors if they are too deep and the black or 
gray to deepen or dull the shades. It is surprising how 
small a quantity of sap green or rose madder oil paints will 
be necessary in stenciling a large piece. Always press a 
little bit of paint out of the tube and then mix with it a 
quantity of white or black, as the case may be. More white 
will be used than color. 

All oil paints come in small lead tubes. A little bit of 
paint will go a great ways, so do not make the mistake of 
squeezing out too much paint at once, for it cannot be put 

Page Twenty 



back in the tube and exposure to the air will dry it and make 
it useless. 

The paint is mixed with a palette knife on a palette (or 
a good substitute for it is a piece of window glass) until 
the right shade is obtained, then it is very slightly thinned 
with turpentine or with a thinning medium until about the 
consistency of cream. For this purpose many workers pre- 
fer gasoline or naptha, others will use nothing but turpen- 
tine or a prepared medium. The following, recommended 
by a teacher of fabric-painting, is said to be excellent: 
Three ounces of pure turpentine, a few drops of extract of 
lemon — say four to six — and ten to twelve drops of vinegar. 

Examine any good printed cloth, note how the print 
sinks into the threads and yet is clear and clean-edged. 
This should be the aim in stenciling and to obtain this effect 
with oil colors, work the paint so thoroughly that not the 
tiniest bit remains undiluted. 

The combination of colors to form others will in itself 
be found a most interesting study. For those who do not 
understand, the following table may assist them. Blue and 
yellow make green, yellow and red make orange, red and 
blue make violet or purple; green and red and green or 
white and black make gray. By using a third color with 
any straight combination, a great number of tints may be 
had. 

Also dyes applied more heavily or lightly, or mixed 
with more or less water, will afford a number of shades of 
the same color, and many additional colors may be made as 
described above for oil paints. 

Since it is very difficult to mix colors that will exactly 
match, it is well to prepare as much paint as will be needed 
to finish the work in hand, then if it cannot be completed 
at a sitting, or within a few hours, put the mixed or di- 
luted paint in some air-tight receptacle. Or if two or three 
colors are used in a design, one color can be completed 
one day, another the next. For example, Fig. 437 depicts 
a Dutch collar stenciled on cream linen in three shades of 
blue. 

Page Twenty-One 



A s different 
fabrics take the 
paint or color 
differently, and 
the tone of the 
fabric effects the 
applied color, it 
is well to test for 
color as well as 
consistency by experimenting on a 
sample of the goods to be used, as 
you have them mixed, before com- 
mencing on the real work. 

Although it is possible to stencil 
any and all fabrics and none are re- 
jected by the enthusiastic stencil- 
worker, it seems much more appro- 
priate on mater- 
ial of uneven or 
coarse weave, 
rather than on 
the highly fin- 
ished fabrics. It 
is also a fact 
that coarse lin- 
ens and canvas 
take the color more easily than smooth silks and fine mus- 
lins. For thin materials the open-mesh linen, batiste, scrini, 
and the pongee or shikii silks, all stencil well and easily; 
and in heavy goods all kinds of heavy linen, crash, repp, etc. 

A natural tone of gray or tan will take almost any 
color. These colors may be obtained in linen, monk's cloth, 
crash, repp, pongee, shantung, velvet, mummy cloth, chiffon, 
crepe de Chine, satin and many other materials. A soft, 
creamy tone makes an excellent background. Certain blues, 
greens, lavenders and other colors may be used also. Avoid 
white backgrounds for they are too dead and the contrast of 
the stencil on white is not good as it makes the color stand 
out too boldly and look as though it were a separate thing 
apart from the background. 

The selecting of the colors of the paints play a very im- 

Page Twenty-Two 




Fig. 437. 



portant part in the art of stenciling. A beautifully drawn 
design may be utterly ruined by choosing the wrong com- 
bination of colors, so select the colors carefully seeing that 
they harmonize with the background they are to be used on. 

For example, a poppy design would be very pretty on 
a sage green ground in pale pink with pale blue-green 
leaves, the center of the poppy dark with a touch of yellow, 
or on a pale blue a deep pink poppy and gray-green leaves. 
The edge of the poppy may be quite deep in tone and grow 
lighter toward the center. The design is also pretty done 
in one shade, for instance, on a pale green gown, stencil with 
a tone two shades darker than the ground color. If the pig- 
ment is mixed somewhere near the color of the frock and 
applied thinly, the tone of the goods will work through 
enough to make the effect harmonize. Rose patterns are es- 
pecially pretty for chiffons and muslins. These in either 
pink or yellow with green or brown leaves on a light pink 
gown, the roses in two or three shades and the leaves in 
shades a trifle darker, will make an extremely dainty gown. 

A chrysanthemum design is adaptable to any color de- 
sired and is very pretty in violet or lavender, as well as pink 
or yellow; a white gown with lavender flowers and gray 
leaves gives a most delicate and refined effect. The pansy 
design may be used in many pretty ways and also has a 
large range of colors. 

A primrose design stenciled on a gray crepe dress 
would be effective with leaves tinted on the goods with 
gray-green which is made by mixing a bit of crimson with 
the emerald, the flowers a pale yellow and the stems green a 
trifle darker than the leaves. Where narrow trimming 
bands are wished on the waist the little flowers may be used 
alone. 

Homespun linen, which is to be had in a beautiful cream 
and a grayish white, is an ideal material for stenciled col- 
lars. Ordinary linens also give good results. The tinted 
linens are more out of the ordinary for coat sets. Select a 
rather heavy weave for this purpose. Here, too, the home- 
spuns are more artistic in color and texture. A heavy 
changeable linen in blue and green is beautiful with a blue 
suit, while nothing could be more appropriate than the same 

Page Twenty-Three 



linen in pink and green to wear with a dark green or brown 
suit. Brush in the stencil in the color of the suit. 




Pig. 4.^8. 

For collars and cuffs have the stencil exactly the size 
and shape of the pattern from which the cloth is to be cut. 
Place the design about half an inch from the edge after the 
article has been hemmed. Only half of the design need be 
cut, unless the central figure differs from the other sections 
as the pine cone in the shawl collar and cuff set in Figs. 438 
and 439 
when it will 
be necessary 
to cut it 
also. After 
placing the 
stencil, be- 
i n g sure 
that that 
part of Fig. 439. 

it marking the center is in the center of the article to be 
stenciled, brush in this half of it together with the central 
figure, if any. Then lift the stencil, clean it and place on 
the other half of collar or cuff, seeing as before that its 
center comes just over the center mark in the cloth, also that 
it is the same distance from the edge as the stenciled half. 
This is very important. The collar and cuff set referred to 
above in the pine cone design would be most effective on 

Page Twenty-Four 




tan linen stenciled in brown and green, the stems in a brown, 
a shade or two darker than the cones, and the leaves in a 
dark green, or the entire design may be brushed in in 
brown. 

For a belt cut only two or three units of the design. 
After brushing these in, remove and clean the stencil and 
replace it so that its first unit is exactly over the last unit 
brushed in. Repeat until the desired length. In Fig. 436 
is given a beautiful belt design which would be most ef- 
fective worked out in dark and golden brown. 

The brushes for stenciling vary in size and shape. For 
a fine design the quarter-inch round or flat brush will be 
the best, while a larger brush will be needed for a bold 
design. The brushes range from one-quarter to an inch in 
size. They are made of stiff bristles to withstand the hard 
pressure when brushing in the color. It is a good plan to 
have several brushes in your outfit, so that when several 
colors are to be used in one design, time and trouble may be 
saved, for if but one brush is used, it must be carefully 
cleaned every time it is used, or the colors will not be clear, 
but muddy. No. 6 and 8 are good sizes, with a smaller one 
for yery small spaces. A good "all-round" brush measures 
from one-half inch to an inch across; and this is especially 
serviceable when a design is to be done all in one color, as 
the whole stencil is then freely gone over. 

Lay the stencil over the goods and plan where the print 
is to be and how many repeats it is going to take to go 
across the space. Unless it happens to be a pattern that 
fits into itself, try a little planning. It can be placed nearer 
or farther apart in order to make the repeats come out even 
on the other end. If there is to be a corner, where it is 
most necessary to have the pattern exactly where you wish, 
begin there. Lay the fabric on large sheets of blotting pa- 
per and secure with thumb tacks to an old table top or iron- 
ing board. If you are planning to do a considerable amount 
of this work you will find it an excellent plan to make a 
stencil pad, as follows : Take a smooth board three or four 
feet square, dovetailed and glued together, such as any 
carpenter will make for you at small expense. Cover it as 
you would an ironing board, first with two layers of cotton 

Page Twenty-Five 



batting, then with an old sheet, tacking firmly to the edges 
of the board. When in use, place a sheet of white blotting 
paper upon the pad to absorb any surplus paint that other- 
wise might run and blur your outline. An extra sheet of 
blotting paper may be used without the pad, indeed some 
workers use only several thicknesses of newspaper, remov- 
ing the upper sheet as it becomes soiled. The blotting pa- 
per is safer, however, with or without the pad. Over this 
stretch the material to be stenciled very smoothly, fastening 
by means of thumb tacks or pins. The latter works admir- 
ably if your board is padded. Fasten the stencil securely in 
place not only at the corners and edges but wherever it 
shows any disposition to lift or stick up off the material. 
The fastenings may be driven down through such points, 
always in the same place, thus preventing the possibility of 
the color working under the stencil. 

To make sure that the plate is in the right spot before 
applying the paint, put pins in the outside holes of the 
stencil plate and then lift it up to see if it is the right place ; 
after the first is made test for the second in the same man- 
ner. Then make some distinguishing mark on the plate to 
show where it touches the print beside it. By using this as 
a measure the prints will be an equal distance apart. If the 
stencil plate does not overlap the previous printing, one can 
make a measure of the distance between the print and the 
edge of the stencil plate. If spotting, that is putting the 
unit on at certain intervals, mark the fabric with a pin 
where the center of it will come laying the center of the 
unit over the pin mark and make sure the edges of the plate 
are parallel with the edge of the goods ; if put on as a border, 
remove the pin from the fabric so that the plate will lie 
smoothly and fasten in place. A unit is that part of a re- 
peating design which is similar to another part. For in- 
stance in Fig. 435 there are three units. In making a con- 
tinuous border, say from this design, after finding the cor- 
rect position, stencil all three units, lift and wipe the stencil 
off and then place the first unit in it exactly over the last 
unit stenciled and stencil the last two on the material. Re- 
peat in this way to the end. 

Wet your brush with the turpentine before dipping it 
into the paint. Now take up with the brush the least amount 

Page Twenty-Six 



of color it will hold and press out all the moisture possible 
against the edge of the saucer. Have a piece of cheesecloth 
or other soft material handy and brush off all the super- 
fluous paint on this. Very little paint is necessary, since all 
care must be observed that the pigment does not creep under 
the edge of the stencil and spoil the outline. Hold the brush 
firmly in a perpendicular position near the bristles and use 
a "dabbing" motion or an up-and-down rather than a length- 
wise stroke as in true painting. The less paint and the 
harder it is to put on the better the stencil will be. "Little 
and often" is the rule. Remember too that the color is to 
be stained into the fabric, not laid on simply. Do not put 
the paint on so thick that the texture of the material will 
be lost. Make it look as though the design were woven in 
the background. Nearly all the mistakes made in stenciling 
are from using too wet a brush. When the open spaces are 
all brushed in, remove the fastenings, wipe the stencil off 
thoroughly with a soft cloth, and place in position to con- 
tinue. A cut stencil may be used numberless times and in 
a variety of ways, if handled carefully. It may be reversed 
which often gives an entirely different effect, or single mo- 
tifs may be selected from the pattern and used separately 
or in connection with the whole. By varying the colors or 
color arrangement in different articles different effects may 
also be obtained. 

A method for applying on very thin goods, which is 
very sure and satisfactory is padding. Make a small pad of 
absorbent cotton covered with white Chma silk and use to 
apply the color over the stencil. The pad, if quite dry of 
color, will hold it so there is no possibility of running, and 
the color can be patted on until it covers the surface evenly. 
The dye is considered preferable to paints by some for wash 
dresses. 

Stencil work is, as a rule, most effective in simple, flat 
colors, but for some work it is very effective in shaded colors. 
To do this it is necessary to mix the deep color, then add 
more and more white until two or three shades are mixed 
for use; then, beginning on the work with the light color, 
add the darker ones and blend with the brush. Sometimes 
a design is very effective shajied as a whole, having the 

Page Twenty-Seven 



lower part of the design dark and growing lighter toward 
the top. Stenciled designs may also be embellished with 
touches of embroidery, using the simple stitch. Heavy em- 
broidery silk or linen floss is used for this purpose in some 
dark color or tint which will harmonize with the colors used 
in stenciling and will bring out many designs in a most 
pleasing way. For instance, imagine the effect of a Persian 
pattern on champagne linen worked out in shades of blue, 
yellow, red and green outlined in black rope linen floss. 

When the stenciling on any article is finished it may 
be ironed with a warm iron to set the color, a damp cloth be- 
ing laid over the work. 

For all work that is to be laundered, to help make it 
more sure, wet the cloth in salt and water; with care, this 
will launder. Do not rub soap directly on the stenciled part 
or rub the work hard. A solution of half-teaspoonful of 
sugar of lead to three quarts of soft water in which the sten- 
ciled article is soaked for five to ten minutes before being 
washed, is said to render the colors perfectly fast. As a 
rule, however, such pieces wash well with proper care. They 
should, of course, never be boiled, but washed out quickly 
as an embroidered article would be, using pure white soap 
and warm not hot water, and rinse in salt water. 

In closing wish to again remind you that stenciling is 
a craft which must be learned by practice, and first efforts 
cannot hope to be altogether successful. It is a very wise 
plan to first practice on some scraps of material before com- 
mencing upon the article which is to be decorated. In this 
way one learns to use exactly the right amount of paint on 
the brush and may see the effect of the color on the back- 
ground. 

Stencil outfits may be bought from 75c to $2.00 which 
include from six to eight tubes of paint, two to four stencil 
brushes, thumb tacks, stencil knife, a number of cut sten- 
cils, and some a palette, palette knife, a bottle thinning 
fluid, perforated patterns for making your own stencils, etc. 
Since the tube paints cost from eight to ten cents when 
purchased singly, stencil brushes from six to twelve cents, 
stencil knife about fifty cents, and other things in propor- 
tion, it is much cheaper to buy an outfit of some good re- 
liable firm. 

Page Twenty-Eight 



EYELET OR MADEIRA EMBROIDERY. 



o o 




Eyelets are either overcast or buttonholed and are 
round or oval in shape. In the first place run a thread 
around the eyelet in short running stitches just inside the 
stamped outline (See second illus- 
tration in Fig. 439-A) and in large 
eyelets a solid outline is made by 
running around twice, position of 
the stitches the second time around 
alternating with th6 first. This 
forms a firm outline which keeps 
the opening in perfect shape even 
after laundering. In a medium 
sized eyelet, cut the material in a 
cross through the center and with the left thumb and finger 
roll under the raw edges. To pierce the eyelet use an or- 
dinary stiletto, until the hole is stretched to the edge of the 
stamped outline. (See iirst illustration Fig. 439-A). If the 
hole be very large cut out a little of the center before 

stretching it with the stiletto. For 
the oval eyelets, punch the round 
3 end with the stiletto and then cut 

to the end of the point. (See dot- 
ted line in second illustration of 
Fig. 439-B). 



Fig. 439-A. 





Fig. 439-B. 



Place the eyelet over the first 
finger of the left hand as for plain 
overcasting and work with short 
regular stitches, taking them as 
close together as possible without overlapping. (See third 
illustration in Figs. 439-A and 439-B). Place your thumb 
nail close to the outline of stitches and overcast the eyelet 
all around, using the thumb nail as a guide for the outer 
edge of the work and allowing the stitches to just cover the 
outlining or padding thread. To finish off carry the needle 
down through the eyelet to the wrong side, turn the work 
and secure with two or three short invisible stitches. In 
the oval eyelets begin at the point and work in the same 
way as the round. (See Fig. 439-B). 

Eyelets should seldom be employed except in lingerie 

Page Twenty-Nine 



as some silk and woolen fabrics fray considerably and make 
the work very difficult of execution. 

The buttonholed eyelet is prepared in the same way as 
the one just described. The stitches, however, are made 
deeper as when this style of eyelet is employed it is when 
a heavier effect is desired. As in the overcast eyelet the 
stitches should be equal in depth and spread evenly apart, 
keeping the purled edges of the stitches in a close circle 
around the outer edge of the eyelet, as in 
the left-hand illustration in Fig. 439-C. 
The stitch may also be worked the op- 
posite way, as indicated in the second il- ^*^' 439-c. 
lustration, bringing the purled edge on the circle around 
the eyelet. 

The thread used for cotton fabrics should be the lustre 
floss, a glossy, soft thread used for fine embroidery. 
Medium and a trifle finer thread are best. Floss suited to 
the material, however, must be chosen — different materials 
require different sizes. Only a tiny bit of the material is 
taken up each time, but care must be taken that each stitch 
is of exactly the same depth, or the inside edge will be un- 
even. 

Another form of eyelet is the shaded eyelet, which is 
made in either the overcast or buttonholed. They are work- 
ed in a similar manner to the or- 
dinary variety only they are pre- 
pared by padding one side heavier 
than the other and the stitches are 
taken deeper on one side than the 
other. The stitches must gradually 
grow longer or shorter and be very 
close together. Fig. 439-D gives 
an example of the shaded overcast 
eyelet and Fig. 439-E of the buttonholed. It is little won- 
der that this style of embroidery is such 
a favorite, as it is so effective and at the 
same time durable and not very diffi- 
cult to accomplish. It is adaptable for 
many purposes in the making of gar- pi^. 4,39-E. 

Page Thirty 







Fig. 439-D. 




ments and dress accessories. Fig. 439-F shows a waist 
front of -lace combined with eyelets and French embroidery 
or satin-stitch, the latter being described in Lesson 20. In- 




Figr. 439-F. 

structions for putting the lace in in such designs will be 
given in the next lesson. Fig. 434 is a beautiful design for 
a waist — a combination of soutache braid, lace or straps 
with eyelet or Madiera embroidery in which both the round 
and oval eyelets are used in different sizes. 



Page Thirty-One 



QUESTIONS. 

1. (a) What kind of braids are used for silk and woolen fabrics? 
(b) For wash goods, and what treatment should both braid and ma- 
terial receive before doing- the braiding? 

2. (a) What is the secret of good braiding with the wider braids? 
(b) Give the principal points in accomplishing this — that is, how the 
braid is held, the stitches taken, the thread drawn, and the kind of 
thread used for different fabrics. 

3. (a) Tell what test is used in obtaining tlie correct miter and 
how the edge of the take-up will lay when at right angles, (b) In a 
point more than a right angle, (c) Less than a right angle. 

4. (a) Which edge of the braid is sewed on first? (b) In putting 
on wide braid in loops hpw are the edges drawn up to fit the inside of 
a curve? 

5. (a) In Fig. 426 how does the sewing of the braid differ in the 
first and second loops from the third and fourth? (b) In which case 
is it necessary to draw the inner edge up exactly as intended to be 
and why? (c) In what kind of a curve will it be necessary to pull 
up the braid first on one edge and then the other? 

6. (a) In studying a braiding design what six features in its 
general character will be observed? (b) What is one of the most im- 
portant points in selecting a pattern? 

7. (a) Tell how the ends of both the wide and soutache braid 
are finished and fastened, (b) How is coronation braid, rat tail and 
tubular braids applied? 

8. (a) Mention some points that will facilitate in braiding on 
velvet and satin, (d) Describe two ways of sewing soutache braid on 
by hand. 

9. (a) How may a straight braiding design be fitted around corn- 
ers and curves? (b) How may it be reversed for opposite sides of a 
garment? 

10. (a) How is a design applied to the material to be braided? 

(b) What methods may be employed in case one prefers not to trans- 
fer the design to the fabric? (c) How sliould the color of the braid 
compare with the material? 

11. (a) What do the perforations in a stencil plate represent? (b) 
What are the three important features in stenciling aside from the 
mechanical part? 

12. Tell how to make a stencil. 

13. (a) Mention some of the pigments used, (b) Which one of 
these is almost universally employed? 

14. (a) Name eight standard colors, (b) Name some of the liquids 
used for thinning purposes, (c) Why is it wise to test the color be- 
fore beginning the real work? 

15. (a) What two natural tones will take almost any color well 
and in what materials may these tones be found? (b) Name some 
other tones that may be used to good advantage. 

16. (a) What materials are especially adapted for coat sets? (b) 
In what color should they be stenciled? 

17. (a) Describe a stencil brush, (b) How many in an outfit? 

(c) How they are used? 

18. (a) What kind of a motion is used in stenciling? (b) How 
should the design be made to look on the background? (c) How are 
nearly all the mistakes in stenciling made? 

19. (a) What other mode of decoration is combined with stencil- 
ing? (b) What color and weight thread is used for this purpose? 

20. (a) Explain how the stitch is taken in working the ordinary 
round and oval eyelet, (b) How is the buttonhole eyelet worked? (c) 
Name another form of eyelet in both the overcast and buttonholed. 



Page Thirty-Two 



THE 

AMERICAN SYSTEM 

OF DRESSMAKING 



A Course of 

Instruction by Mail 

in the 

Science and Art 

of 

Successful 

Dressmaking 

And Ladies' Tailoring 



Lesson No. 23 



The American College of Dressmaking 

(Associated Training Schools, Proprietors. ) 

KANSAS CITY, MO., U. S. A. 



Copyrighted 1906, 1907, 1908 and 1909 
hyJ.M.Stelle 

Copyrighted 1910 and 1911 
by Associated Training Schools 



j^ll rights reserved. 



Printed in the United States. 



Ci)e 



american ^j>0tem 
.<'fBre00mafein5 

TAUGHT ONLY BY THE 

9lmerican College of Bressmafeins 
iBlaneias Citp, Mo. 

Miss Pearl Merwin, Supervisor. 

Lesson No. 23 

TRIMMING. 

The question of trimming — ^what kind it will be and 
how it will be used — is quite as an important a matter for 
consideration as what style of gown is fashionable, for the 
right finishing touch of a costume, which frequently means 
its trimming, has much to do with a costume's success. 

To begin with, there is the right trimming for the right 
fabric, you know — right in color, right in quality and ap- 
propriateness. And then there is the correct application of 
it. The trimming may be just what it should be, artistic in 
design and charming in the way it harmonizes with the fab- 
ric and yet it may be put on in such a way that it entirely 
spoils the correct lines of the gown. Remember always to 
apply the trimming to emphasize the good points and to con- 
ceal the defects of one's figure, and use the trimming with 
discrimination and discretion. 

Trimming is anything applied as an ornament. A 
gown itself — or rather its essential parts — may seem to 
form the trimming, rather than any applied ornament. 
Take for example the gowns of contrasting material in 
which there is, as a rule, absolutely no garniture except the 
materials which form the gown, and which in many cases 
are divided almost equally, making it difficult to give the 

Page Three 



place of prominence to one or the other. Take the draped 
gowns: one could not call the drapery a trimming, it is so 
essentially a part of the gown. Neither could the yoke and 
sleeves of lace, which are necessary to finish the gown, be 
spoken of as trimming. 

Under the head of trimming is included hand embroid- 
ery, braiding, stenciling, smocking, beading, straps, folds, 
lace, machine stitching, tucks, ruffles, shirring, quilling, 
piping, bands, applique, medallions, motifs, garnitures, fes- 
toons, buttons, braided frogs, pendants, ribbon, tassels, 
fringe, etc., etc., 

The stitches most commonly used in dress decoration 
have been described in part in Lesson 20, also braiding and 
stenciling in Lesson 22, and the detail of stitches ordinarily 
employed in smocking in Lesson 1. The honeycomb stitch 
is so commonly used in this work that smocking is often 
referred to as honey-combing. It is very effectively em- 
ployed to simulate a yoke in the shirtwaist, blouses, tea 
gowns and children's dresses, also used on sleeves as a band 
around the sleeve or as a cuff. If one desires an inexpensive 
decoration on a dress nothing can equal smocking. 

BEADING. 

Beads are used to some extent in dress decoration at all 
times and are used sparingly or profusely according to the 
dictates of fashion ; at present, however, there is more than 
a suggestion of Egypt and the Orient in dress decoration, as 
it forms a most important part of it and is used both for 
evening and afternoon wear. 

Chiffon cloth, voile and marquisette are the materials 
perhaps most generally employed, but crepe de Chine is a 
charming material and is sufficiently sheer so that the pat- 
tern can be followed. In fact, there are a great variety of 
fabrics that may be used. The beaded embroidered waists 
found in the shops, as the work is done entirely by hand, is 
quite an expensive item in the wardrobe. They are espec- 
ially good as a separate waist, when so much in vogue, to 
wear with a tailored suit or skirt. Where chiffon, marquis- 
ette and like fabrics are used they are worn either over an 
elaborate white waist or one of fancy silk in Dresden or 
Persian effects. Sometimes two thicknesses of chiffon are 

Page Four 



used, white over color or color over white, and then the 
extra waist is not necessary. For example, imagine the ef- 
fect of a bright light blue, almost a sapphire, beaded with 
white and mounted over white chiffon; the neck cut round 
and both neck and sleeve edges finished with a narrow fold 
of black satin. This blouse would be charming for wear 
with a black skirt. 

Not only are blouses and entire gowns beaded but nearly 
every article in the wardrobe may come in for its share of 
bead decoration, such as parasols, bags, hat bands, bead 
belts, etc., and since belts belong strictly to the costume, in- 
structions for a very attractive belt of this kind will be 
given in the American Dressmaker under the head of Dress 
Accessories. Bandings are also suitable for this kind of 
handwork and where beads alone are not desirable or ap- 
propriate, silk cord couched down or braid may be used to 
outline the main part of the design, and beads of a harmon- 
izing color in self tones or gold may be used to fill in the 
spaces. Chain-stitching could also be used in place of 
the braid. Also on evening gowns the more elaborate trim- 
mings used are made up of very pretty beads inter-mingled 
with French and shadow embroidery. (See upper illustra- 
tion of Fig. 452). Lovely combinations can be made with 
pearls and emeralds, or different tones of one bead com- 
bined with gold or silver. Shadow embroidery makes an 
exceptionally dainty trimming on evening gowns of chiffon, 
maline, marquisette, or any sheer fabric. 

Jn fact, beading and embroidery are so combined in the 
majority of gowns that it is difficult to tell where one be- 
gins and the other ends. 

Beads are all shapes, sizes and varieties. Those of 
glass, agate, wood and porcelain are much used on silk or 
satin, while soft wool, crepes, veilings, marquisettes are 
trimmed with designs carried out with small agate, wooden 
or Indian beads in three or more colors. While the beads 
most commonly used perhaps are the milk white, turquoise 
blue, jet, pearl, crystal, gold and cut steel, there are many 
bewildering pretty novelties shown in the shops which spec- 
ialize in beads, round, oval and oblong shapes in every con- 
ceivable hue, not to speak of the beautiful opalescent and ir- 
ridescent effects. Persian effects are also to be had in beads. 

Page Five 



The wooden bead may be dyed to match any material. 
Aside from the tiny seed bead, there is a fairly large round 
bead used in combination with the seed bead in many pat- 
terns and oftentimes parallel rows of these larger beads 
are used with the waist decoration. 

Bugle beads are also combined with the seed on de- 
signs where they can be used to advantage. (See lower il- 
lustration of Fig. 452). The most fascinating floral de- 
signs may be created by the use of the oval beads ; each leaf 
and petal is formed of a single bead. 

The most popular beads are the white china or porce- 
lain beads as they are commonly called. They vary from 
those as large as the head of a pin to the size of a pearl. 
Another well liked is the small opaque bead. 

Light colored beads blended with dark ones are as a 
rule used on dark fabrics, while dark beads are preferred 
on light-colored materials. If contrasting shades are to be 
used be sure they harrhonize with the material. Another 
thing to be remembered is whether the beading is to be done 
on the outside, as it makes a great difference whether the 
beading is to be veiled with chiffon. In the latter case the 
beads should be bright while in the former the dull colors 
would be more attractive. Oriental effects may be obtained 
by the use of three or four colors in the dull warm shades 
of red, blue, green o o o ° o ^ „ a 

and gold, and o°-oc,ooo9o 

black beads may 
b e introduced 
sparingly ^ I 

throughout t h e ^ ° 

design to intens- ° » 

ify the coloring. 

Any braiding 
or bold embroid- ° 

o 

ery, also some of o 
the dainty d e - " 
signs may be ° 
worked in beads 
alone or, as has 
already been stated, combined with cord, braid and embroid- 
ery of different varieties. For example, bead work might 

Page Six 




Fig. 440. 



be introduced in Fig. 440 by sewing small beads of gold or 
the irridescent variety in the center of the flowers, or the 
entire flower might be outlined with one kind and filled in 
with another, the bugle beads in the center of each flower 
petal, the dots in the larger round beads and the balance 
of the design worked in any one of the outline stitches pre- 
ferred. The large dots might also be worked in satin-stitch, 
outlined in tiny beads, or filled in with a group of three or 
four, depending upon the size used. 

The small Indian beads are suitable for this design, 
especially if the blouse is made of chiffoh, marquisette, 
voile or net. For these fabrics, the darker colors make ex- 
cellent waists for practical wear, and this design would look 
well carried out in green, dark red, light blue and whito 
Indian beads. On rich and delicate materials the small 
glass or agate beads are more suitable, and a touch of gold 
and silver might be used throughout, depending upon 
whether an elaborate or plain effect is desired. 

The white opaque seed beads are used alike on light or 
dark colors. Black chiffon blouses beaded with white are 
frequently seen, and may be worn over white, black or 
color, whichever one prefers. Black beaded with cut steel 
is extremely handsome, and cut jet is also effective on a 
black chiffon or net blouse worn over a color. 

White beads on either delicate pink or blue materials 
are exquisite and extremely handsome effects are secured 
by using turquoise blue beads on white. A very charming 
blouse for wear with a suit or skirt of dull old blue is a 
white chiffon over blue with the waist front and upper 
part of sleeves ornamented with a band of white beads 
combined with coarse chain-stitching in white. 

Sometimes the beading is confined to a simple design 
around the neck and a band along the edge of the sleeve 
with clusters of beads scattered at regular intervals over 
the surface of the material and then again the surface is 
covered with a powdering of single beads. Some very elab- 
orate effects are carried out with beads of two contrasting 
colors. 

A design for beading cannot be stamped on the ma- 
terial, as the lines would show between the beads, so the 
thing to do is to either baste the material over the pattern 

Page Seven 



which has been stamped on cambric or stiff paper that will 
not crack; or baste the tissue paper pattern firmly on the 
material to be beaded. The first method has to recommend 
it the advantage of having the material uppermost so that 
one may readily see when basting that it is perfectly 
smooth, and the latter has the advantage of holding the ma- 
terial more firmly with less basting as the stitches in this 
case are taken both through the material and tissue paper. 
This method is especiahy desirable on soft fabrics like chif- 
fon, and voile and is the only method to be used where the 
design cannot be seen through the material, and if one ex- 
periences any difficulty in soft fabrics in getting the mater- 
ial smooth on the paper, trace the design with a lead pencil 
to the wrong side as it is essential to see the design in order 
to economize with material, and then baste the material 
over the wrong side of the pattern. A sewing silk should 
be used for basting, as it does not divide the strands of 
thread in sheer fabrics when it is removed from the paper. 
The principal thing is to baste well over the design to be 
embroidered. First, place the material over the design be- 
ing careful to have the threads of the fabric run perfectly 
straight with the design and hold in place temporarily by 
small, sharp pins placed here and there and then baste by 
placing rows of basting every half inch, first one way and 
then diagonally across in the other direction, smoothing 
any little wrinkles or puckers away from you as you baste. 
When the beads are all sewn on, be very careful in ripping 
out the basting and tearing away the tissue paper, if this 
method is used. 

There is also a diversity of opinion as to the merits of 
cambric and stiff paper patterns, some workers preferring 
one and some the other. The cambric is the easier to 
handle but a drawback in working on the cambric is that 
the needle sometimes catches in it when working, and then 
when the work is finished the cambric must be carefully 
cut away around the stitch so as not to cut the thread, 
otherwise a disappointment will result for once the thread 
is cut, away go the beads. Anyone who has never done em- 
broidery on soft material will be quite liable to think the 
work is too difficult to attempt, but if instructions are fol- 

Page Eight 




lowed it will be found as easy to accomplish as on any 
other material. 

When sewing on beads, either of three ways may be 
used. (See Fig. 441). Perhaps the one most generally 
employed is the simple running stitch, picking up a few 
stitches of material between II ^ 
the beads. (See Fig. A in the "" \ ^ ^ £} ^ £) £) 'Q 
illustration). Another 

method is given in B by which '^^'^r^^^ '^ P) ^ 

each bead is secured by a '^ 
back-stitch, and couching as 
shown in C is also sometimes 
employed. In the event the 
beads are strung in the desired quantity and combinations 
on purse silk, which is a size between the ordinary letter 
A sewing silk and the buttonhole twist, use a shade the 
same as the material, and do the couching with a separate 
needle and thread. When stringing small beads get a fine 
needle and a fine strong thread. Pile the beads in a news- 
paper and thrust the needle through them. Every time the 
needle will take up from three to six beads, sometimes 
more, and the work is thus much more rapidly done. A 
tiny knot must be made when commencing a thread and a 
few stitches run on the line of the pattern, bringing the 
needle out at the beginning of the line, where the beads 
are to be attached. When fastening off, run the needle 
back through a few beads and catch with a tiny buttonhole- 
stitch between each bead. For sewing on the beads always 
use a thread the color of the material, as the object is to 
show the connecting thread between the beads as little as 
possible. It is perhaps the better way to open up one bunch 
of beads of a kind at a time, using a dark colored china dish 
with a flat bottom. This enables one to more easily pick up 
the tiny beads on the needle one by one as they are needed. 
All irregular beads and those with an eye too small to slip 
over the needle should be dropped into another dish as 
fast as they are discovered, so that one need not handle 
them a second time. All beads of one kind should be uni- 
form in size. 

In sewing on the beads be careful not to draw the 

Page Nine 



thread too tight, and take up enough of the material to hold 
the bead securely in place. Sew them about the width of 
a bead apart. 

For beading smaller pieces such as ribbons, scarf ends, 
etc. the use of a frame is necessary. Wire both edges of 
ribbon or narrow articles if they are inclined to curl. 

As we stated in a former lesson, tiny French knots 
simulating beads are extensively used on waists instead of 
beads, if one likes. The little knots, follow the design just 
as beads or braid would do, and it is almost impossible to 
distinguish knots from beads except by the sense of touch. 
Of course, the knots must be made hard, round and kept the 
same size. They lend themselves especially well to chiffon 
and the more filmy fabrics for they do not weigh as heavily 
as do the beads. Then again, they combine prettily with 
all-over laces and may be embroidered in and about the most 
intricate of patterns. 

STRAPS AND BANDS. 

Straps and bands of all kinds, straight and bias, wide 
and narrow, have been and will be used indefinitely as trim- 
ming for dresses or suits, from time to time. For gowns of 
the severe or tailor-made type the straps are particularly 
appropriate, as they can not be trimmed with either full or 
elaborate trimming and retain their character for simplic- 
ity, so machine stitching, braid and plain straps and bands 
are always in use as trimming for garments of this par- 
ticular kind. They may be applied in an indefinite number 
of ways. When making these bands, cutting a true bias is 
the first necessity. One object is to make them perfectly 
pliable. Another is to make the trimming run a different 
way from the dress material which makes it distinctive. 
Cutting and making bands and straps is explained in Les- 
son 1, also some instructions for applying them to skirts 
are given in Lesson 11. Straps for tailored suits may be 
either of the goods of which the suit is made or of broadcloth 
or silk the same shade, a harmonious or contrasting color. 
Straps of silk should be of the very best quality to give satis- 
factory wear. They are made different widths depending 
upon the weight of the material and the purpose for which 
they are to be used. In heavy material they are seldom 

Page Ten 



wider than three-fourths of an inch while in silk and one 
thickness of broadcloth they are often as narrow as one- 
fourth of an inch. When making quite a quantity of strap- 
ping it will be found a great saving of time to employ the 
strap maker as shown in Fig. 49, Lesson 1. 

Straps of one thickness of broadcloth are an exception 
to the general rule, since they are on the straight, but can 
not be used on a surface that is much on the bias or on 
curved lines, but may be used on straight lines or those 
that are nearly so. The great advantage in being able to 
apply them on the straight is the time saved in making 
them for the strips may be torn from the broadcloth, mak- 
ing them about an eighth of an inch wider than the finished 
straps are to be. Seam them together and press seams on 
a soft pad so they will not be shiny, stitch on to the gar- 
ment in any style practical, keeping the stitching about a 
sixteenth of an inch, or a trifle more, from the edges and 
see that the rows of stitching are the same distance apart 
throughout. When the stitching is finished, trim the edges 
evenly and close to the stitching with a sharp pair of scis- 
sors. 

In some cases the same width strap is used throughout 
and again one wide one with two or three narrow ones. 
(See bottom of skirt in lower illustration of Fig. 442). 
Then on the coat or waist which goes with it only the nar- 
row ones will be used, or perhaps this width with still a 
narrower one may be employed. Also a waist of silk, net, 
etc., of the same tone as the cloth tailored skirt with which 
it is to be worn may be trimmed in straps of the skirt mater- 
ial very effectively and tnus give an idea of unity. Often- 
times embroidery is used in connection with the straps 
either in a regular design or just some little touches in the 
way of French knots, or some other simple stitch. If the 
skirt is quite wide at the bottom causing considerable curve 
to the lower part, and if the band is more than three inches 
wide, it will be best to shape it by that part of the skirt to 
which it is to be applied. To do this lay the skirt gores 
out side by side with their edges touching, measure up from 
the bottom of skirt whatever distance the lower edge of 
band is to come and mark along here and there and then 
connect these points in a solid line, next measure for the 

Page Eleven 



width of band and slipping another piece of paper under- 
neath the gores trace on these lines from center front to 
center back which will give a pattern for one-half the band. 
In cutting place the center front on a crosswise fold of 
the material and piece as required to finish out the length. 
The method of making and applying is explained in the 
beginning of Lesson 11 and as stated there they may be 
double or single, the latter being stitched to the skirt on 
each edge or on the upper edge only. 

When both edges of a strap are stitched to a garment 
it is very important that both edges be stitched the same 




Pig. 442. 



way — that is, do not run one row of stitching from right 
to left and the other from left to right. The reason for this 
is that all machines push the top piece of material a little 
and if one edge is pushed to the right and the other edge 
to the left it is liable to cause little slanting wrinkles across 
the band. 

As a rule, it is an easy matter to apply straps directly 
to a skirt by machine stitching but often this is not the 

Page Twelve 



case in applying straps to a coat or waist and it is a good 
plan to line the strap with light weight crinoline or tar- 
latan when made of velvet, satin, silk, or light weight 
woolen material, then put in the stitching — one row on 
either edge and one or more between. It is then basted and 
blind-stitched on from the under side or short stitches taken 
from the right side in the machine stitching along the edges. 
In basting velvet or silk bands or straps, silk thread should 
be used as it will not leave the marks that cotton does, and 
when the thread is ripped out it should be cut every few 
inches, as the pulling out of a long thread leaves marks, 
also pull from the knotted end as the knot is very liable to 
tear the silk. In trimming solid colors often straps of 
plaid, checks or figured material are used while straps of 
solid colors are used on garments of striped or figured 
goods. (See Figs. 360, 361 and 362, Lesson 19). 

The upper illustration in- Fig. 442 shows how to trim 
striped material with double bias bands of the same. They 
are just a little bit more trouble than the ordinary bias 
band, but the effect is really very good and decidedly less 
common. When cutting these bands, only half the neces- 
sary length and width is cut from one corner of the goods; 
the other half must be cut from another corner. This is 
to make the stripes run in the opposite directions. If the 
first bias is made from the upper left to the lower right 
corner of the goods, cut the second from the loive^^ left to 
the upper right corner. This will leave a V-shaped piece 
from which short lengths may be cut for the waist, coat and 
sleeves. If the band on skirt is to be pointed, as shown in 
the model, make the point parallel with the stripes. Great 
care must be taken in seaming the bands together so that 
both halves are not made for the same side of the skirt and 
the stripes hit each other exactly to form perfect points, 
otherwise the effect sought for will be lost. Narrower 
bands in the same style may be used on the waist or coat 
of suit or a single bias strap may be used, having the stripes 
on the right and left-hand sides in opposite directions. 

The part of skirt shown in Fig. 443 gives an example 
of where two straps of the same width are used on either 
side of a wider bias band of striped material in a contrast- 
ing color in connection with a much narrower strap, say 

Page Thirteen 



one-fourth of an inch wide put on every other gore in the 
design of connected squares. Black silk straps are often 
used in connection with those of cloth as represented here. 
The plain straps with the contrasting band between is 
particularly effective for trimming a young girl's skirt. 




Fig. 443. 

(See Fig. 298, Lesson 15). If there is a coat to go with 
the skirt, the collar and cuffs may also be of the stripe. 
When this method of trimming is decided upon first decide 
how far from the bottom of skirt the striped band is to be 
placed, then mark the place for the lower edge of the band 
with pins or a thread and with this as a guide baste it 
on to the skirt. It need not be stitched. The narrow 
bands are now cut and prepared to apply to position either 
side of the wide one, being sure that they cover both edges 
of the striped band. The same row of stitchmg holds both 
wide and narrow bands. 

The design of connected squares may be used without 
any other strapping. To arrange for it draw a square which 
will fit (turned as shown in the illustration) into the space 
to be decorated. Then divide each side of the square into 
thirds and draw the lines forming the little squares in each 
corner and the one in the center. Then cut the large square 
out cutting away the square at the center of each side, 
which will leave five connected squares on the one piece 

Page Fourteen 



of paper to use as a pattern. In marking the material 
place one corner of the design as far from the hem of the 
skirt as desired and pin into position. Then mark around 
the edges with the exception of half of the upper square 
with basting or tailors' chalk very accurately. Then baste 
the outer edge of the strappmg along the markings. First 
measure off enough to reach from the top of the skirt gore 
to the half square where the basting is begun and continue 
around the edge of one square to the next until you have 
reached the half square again. Then lay the two rows of 
strapping on up to the top of gore so that they will be the 
same distance from either edge of the gore and the distance 
between them is a trifle narrower as it approaches the top. 
The width of the strap will determine the size of the open- 
ing in the little squares, therefore, see to it that it is not so 
wide as to make the design too compact. It will be found 
a very suitable design for an eight or ten gore skirt using 
it between the panel gores as shown in the illustration, let- 
ting it come well down to the hem on the gores on either 
side of the panel front and raising gradually on the other 
gores as they approach the back. On the waist or coat a 
design may be used on either side in front and one in the 
back and on each sleeve, decreasing the size of squares, if 
necessary. In basting and stitching this design see that 
the corners are brought out clear and distinct or else the 
work will have an amateurish look. 

In the jacket-vest illustration in Fig. 443 the design is 
developed in two kinds of broadcloth. The portion of the 
vest in front of the braid is of white broadcloth, and that 
part between the braid and the cloth which forms the front 
of the coat is of a gray green, which will tone with a coat 
of almost any color. The braids are a military one-half 
inch wide and a soutache. The military is turned in squares 
and the soutache in tiny loops along its edges. The soutache 
may, if desired, be purchased in this form instead of plain. 
On the front edge of vest embroidery three rows of chain 
or outline-stitch with the medium weight floss to match the 
green broadcloth and three or five sunburst stitches at in- 
tervals of about an inch and a half which are simply straight 
stitches, having a common center, each stitch ending with 
a French knot. Stud the green broadcloth with gold-lined 

Page Fifteen 



crystal beads. If one hasn't some left-over pieces of broad- 
cloth large enough for this purpose, an eighth of a yard 
may be purchased as it may in this case be used across the 
grain of the goods. With this kind of a vest a suggestion of 
the trimming is pretty at the elbow or just below it when 
the short sleeve is desired. A large cuff would not be ad- 
visable as it would be liable to soil and durability in trim- 
ming should always oe considered, as perishable trim- 
mings are the greatest extravagance. The trimming on 
cuff is carried out to correspond to that on vest, either the 
white or green broadcloth being used. (See Fig. 443). A 
model for trimming a skirt to go with it is shown in the up- 
per illustration of Fig. 444. 

The lower illustration in Fig. 444 depicts a simple, yet 
showy model for plain straps interwoven with each other. 

Before begin- 
ning to baste 
on the straps, 
divide the skirt 
at the bottom 
into as many 
equal parts as 
there is to be 
groupings o f 
straps — an un- 
even number is 
p r e f erable — 
and put a pin 
at the division 
points. Baste 
the horizontal 
length of braid 
on first. Next, 
baste the strap 
forming the 
smaller point 

the two rows of which are as far apart at the bottom as 
twice the width of the braid, sloping up closer together at 
the point. The point is the same distance above the hori- 
zontal strap that the ends are below it, so before basting 
these sections on draw chalk lines accordingly. Begin at 

Page Sixteen 




Fig. 444. 



the division points at bottom of skirt and measure on either 
side of each the width of the strap, then on a line straight 
up from division points make a mark for the point, or make 
a solid paper pattern for the marking of the outer edges 
of strap. A pattern may also be made for the laying of 
the other strap, using the pattern of the first section as a 
guide. That is, measure out from either edge at its lower 
extremity twice the width of the braid, draw slightly slant- 
ing lines from these points to points half as far above 
horizontal strap as the point in first section. Then slope up 
to a point two-thirds the distance. (See illustration). 
Baste the first section over the horizontal strap and the 
second section under it and in stitching carry out the same 
effect, which will mean in most cases to terminate the 
stitching when coming to an intersecting strap taking up 
the stitching again on the other side of intersecting strap. 
This may be done by pulling the garment back enough to 
give a tying length of thread, continuing the stitching, cut- 
ting and tying the threads afterwards. 

Thus by observing different designs carefully it will be 
found by a little experience that any may be followed satis- 
factorily. Many lace and braiding designs may be em- 
ployed for strapping. 

Since they are single lines in the braiding designs, as 
a rule, use the lines either for the inner or outer edge of 
strap, employing one method or the other throughout one 
design. In applying a design to a garment see that the 
main parts of the design come an equal distance apart. 
The connecting lines may be shortened or lengthened as 
necessary. For example in applying the braid as shown in 
the upper illustration of Fig. 444 it will be necessary to 
divide the skirt into an equal number of parts so that the 
little squares will come down at regular intervals and that 
the separate sections of braid above the continuous row fol- 
low some certain rule as to their length and the distance 
between them. Also, observe the same rule in applying the 
braid to coat front and sleeves. 

The Grecian design (Greek key) often seen worked out 
in braid may also be employed in strapping (see upper il- 
lustration of Fig. 445) . If one has no pattern from which 
to mark the garment to be strapped the upper and lower 

Page Seventeen 



lengths of the blocks only may be marked off either by pins 
or tailors' chalk, the short lengths in between not being 
necessary as when the first corner (after the long length 
at the top of a block is turned) the strap is carried just half 
way between it and the long lower length at the bottom. 
Then after making the second turn extend the strap until 
it comes a little beyond the center of the long length at top 










































































































































Fis. 445. 

of design (see No. 3) and parallel with the first perpen- 
dicular length and also the length between Nos. 1 and 2. 
<~^ontinue to the lower edge and turn, then on to Nos. 5 and 
6 when you will be ready to begin a new block. In the 
model here given it will be observed that horizontal lengths 
are as far apart as the width of the strapping, also the 
perpendicular lengths, with the exception of that from Nos. 
3 and 4 which is a little more than the width of the strap 
to the left of the strap from Nos. 1 and 2. In basting the 
strapping bear these points in mind and as a guide in keep- 
ing the correct spacing a loose length of the strapping may 
be used to place between those being basted on. 

Page Eighteen 



In the center illustration of Fig. 445 is given a design in 
two separate lengths of strapping. Make the blocks any 
size desired, measuring the outside of the blocks each time, 
so that in a straight border, the upper blocks will measure 
the same as the lower ones. For the bottom of a skirt where 
the lower edge will be wider than farther up, it will be 
necessary to shorten the upper horizontal lengths a trifle. 
To tell just what the difference will be decide on the depth 
of the design and measure around the skirt both where 
the lower and upper edges will come. Divide the space 
into an odd number of parts so that the blocks will come 
together right and start the marking so the middle of a 
design will come in the center front and one directly at the 
side, then make the lengths of strapping at upper and lower 
edges of blocks accordingly and mark the second side by the 
first. Pin the strapping or braid on one side of the skirt, 
(or whatever garment is being trimmed) first and then 
baste. When all the blocks are completed, baste a piece of 
the strapping or braid through the center of the blocks, al- 
lowing it to go under one block and over the next. (See 
diagram). If in basting the blocks long stitches are left 
on the sides running up and down, it will enable this fin- 
ishing length of strapping to be slipped under and over the 
blocks without having to cut any bastings. 

The third illustration shows another development of 
the block design just described the upper set being put on 
first and when they are adjusted it will be in an easy matter 
to put on the second. The three examples in this figure will 
show how readily one may after a little experience and in- 
genuity develop one design from another. 

Graduated bands are often used on gowns, especially at 
the bottom of skirt, say five beginning with about a three- 
inch one, put on above the hem the width of the strap, de- 
creasing each a quarter to three-eighths of an inch; also 
the space between each is decreased in the same proportion. 
In applying taffeta silk bands to crepe de Chine before bast- 
ing on the bands pin light weight wrapping paper or two 
thicknesses of tissue paper underneath the garment to be 
trimmed, smoothing the goods on it evenly so it will neither 
draw or lie full and tear the paper away after the stitching 
is done. 

Page Nineteen 



Bands of velvet or filmy materials that can not be made 
in a band maker or are hard to keep straight should be 
made over light weight crinoline or tarlatan cut on the bias 
of a perfectly even width throughout and the band material 




Fig. 446. 

an inch wider. (See right-hand upper illustration in 
Fig. 446) . This interlining will also aid greatly in applying 
the bands smoothly to the garment and improve the appear- 
ance of the machine stitching. 

Folds may be wide or narrow. The cutting and mak- 
ing is described and illustrated in Lesson 1. The applica- 
tion of folds on skirts is explained in Lesson 11. Double 
folds are often used to simulate deep tucks, but should not 
be made more than three inches wide as they do not set so 
well. The cutting and making of milliners' folds is also ex- 
plained in Lesson 1. They should not be made too wide when 
used on curves as the narrow ones can more easily be twisted 
and turned into curves and patterns and the material to 
make them should not be cut more than one and one-quarter 
inches. For the machine-stitched ones, after the long bias 
strip has been pieced together, turn down the upper edge 

Page Twenty 



fully to the center of strip. Then, turn small seam up on 
lower edge and fold over to within one-eighth inch of upper 
edge of fold and run a row of machine stitching through the 
center. In the lower left-hand corner of Fig. 446 is given 
a simple design for trimming in these little folds. 

Shaped bands or straps are cut to fit the opening or pa^ t 
of the garment they are to decorate such as the yoke of a 
waist, bottom of a sleeve, lapel of a coat, etc. A section of 
such a strap is shown in the lower right-hand corner of Fig. 
446. A paper or cambric pattern should first be cut the 
shape and width required — the cambric is preferable as the 
bias edges may be pulled to fit the curves exactly. When 
this is done place the cambric on the ironing board and with 
a damp cloth, press, being very careful not to change the 
shape. Then apply it to the garment to make sure it 
is correct and if so mark the material, using it as a 
guide, allow for the turn-over and make. Or if the band 
requires an interlining, the cambric may be used for that 
purpose and no marking will be necessary in that case. 

Lace is used in a vast number of ways in dress decora- 
tion since the variety of manufactured laces is almost in- 
numerable, making a wide range in quality and price. Also 
there are many different hand-made laces. The kind of lace 
used depends largely on the material which it is to decorate. 
That is, a washable lace only should be used on a garment 
intended to be washed. White or cream lace may be used 
on light colored fabrics and black on dark. 

Lace insertion is quite commonly used between clusters 
of tucks, at the top of a hem or ruffle, either side of a trim- 
ming band, (see Fig. 447) and also in making a yoke. (See 
Fig. 447) . Instructions for making a one-piece yoke and col- 
lar are given in Lesson 6. The general method of applying 
insertion is given in Lesson 17 and illustrated in Fig. 327 
but where much is used on a garment it is more practical 
after basting to stitch on either edge, cut the material un- 
derneath through the center and turn each of the edges 
back so that the fold will not come quite to the stitching and 
stitch a second time a trifle inside the first stitching. Then 
cut the surplus material away so that the raw edge will be 
an equal distance from the fold where it is turned back, also 
see that this turn-back is the same distance from the edge of 

Page Twenty-One 



lace. This is important and if carefully observed one can not 
distinguish from the right side of a garment the unhemmed 
from the hemmed. It is also important to leave ample mar- 
gin outside the second stitching so that in wash garments 
the material will not shrink 
from under the stitching. 
Lace insertion is also put 
on in designs (see Fig. 439- 
F, Lesson 22) and may be 
applied as just described or 
the edges rolled and whip- 
ped after the first machine 
stitching. (See upper left- 
hand illustration in Fig. 
446) . 

Lace ruffles require from 
once and a third to once 
and two-thirds as much as 
the space to be covered. 
The heavier the lace the 
scantier the ruffles, also 
narrow lace requires less 
fullness than wide. Lace 
ruffles are never placed on 
the extreme edge of a skirt 
as they could not stand the 
wear. In rounding corners 
with lace it must be sewed 
on very full to prevent any 
drawing on the lower edge. 
Fine white cotton is used 
for white lace, and black 
silk for black lace. Direc- 
tions for coloring lace to 
match a gown will be given 
in the American Dress- 
maker. 

Machine stitching and 
tucks are perhaps the most 
universally employed meth- 
ods of dress decoration. pis. 447. 

Page Twenty-Two 




The former appears on seams and edges of all kinds, (see 
Figs. 34 to 44 inclusive, Lesson 1) on bias bands, belts, 
collars, revers, etc. To be ornamental, machine stitching 
must be perfectly even and is usually done with silk. 

Tucks may be used wide or narrow, in clusters or an 
equal distance apart, also may be used as trimming bands 
either on the straight or bias, the tucks in this case being 
small — not more than an eighth of an inch — and an even 
distance apart. They are put in on the straight of the 
goods and then the bands cut as desired. A number of dif- 
ferent width tucks may be used effectively on the same gar- 
ment, also graduated tucks used one above the other. In- 
structions for putting them in the bottom of a skirt will be 

found in Lesson 10 and il- 
lustrated in Fig. 165 of that 
lesson. An excellent ex- 
ample of the application of 
tucks is given in Fig. 447. 

Ruffles are put on in var- 
ious ways. They may be of 
lace, which have already 
been mentioned, embroid- 
ery or of the same material 
as the garment. They are 
used more on the skirt than 
elsewhere and are put on in 
straight rows, V's and fes- 
toons, or scallops of two or 
more. (See 366, Lesson 
19) . In the latter is shown 
five ruffles on the skirt, the 
lower edge of one covering 
the upper edge of the one 
just beneath it and the top 
one finished in a heading. 
The yoke is finished in a 
narrow ruffle, and there are 
three on either sleeve. Also, 
tiny ruffles of lace are 
shown on the waist and 
Ruffles may be finished with either the 

Page Twenty-Three 




Fig. 448. 

dress in Fig. 448. 



heading or a trimming band of lace, embroidery, silk, vel- 
vet, or ribbon as shown in Fig. 448. 

The different methods of shirring are described and il- 
lustrated in Lessons 1 and 9 — in the latter under the head 
of Shirred Skirts. Tucked shirring is depicted in the waist 
in Fig. 448, where it is applied to simulate a trimming band 
around the yoke, also two clusters of the shirring are used 
on each sleeve. A companion to this waist is shown in Fig. 
181, Lesson 11. Cord shirring is used in the dress shown 
in Fig. 448 and flat shirring is illustrated in the left-hand 
gown in Fig. 262 and in Fig. 263, Lesson 14. 

When a yoke of shirring is used always make the stock 
of lace or of some other trimming used on the gown, rather 
than of the shirring itself. A suggestion of the shirring, 
possibly an inch and a half or two inches wide, may be in- 
troduced in the center front, but remember that shirring, 
when it extends around the sides of a stock, makes the neck 
look thick. Always do away with all thickness in a stock 
collar; it is unbecoming and therefore undesirable. Bands 
of shirring are also used as a trimming which are most ef- 
fective. They will be described shortly. 

Quilling is a tiny ruffle gathered through the center 
of its width. It should not be more than an inch when fin- 
ished, or an inch and a quarter at the most. In light weight 
silk and like fabrics it should be cut twice the width of the 
finished quilling plus one half inch for finish. It may be cut 
either on the straight or bias but gathers somewhat pret- 
tier if on the bias. To make, bring the top edge over a 
quarter of an inch past the center, turn the lower edge back 
and fold over to the center, or so that the raw edges will be 
even and gather. This may be done either by hand or on 
the machine with a loose tension and long stitch. Quilling 
is applicable any where a narrow ruffle could be used — at 
the bottom of a deep or moderately deep ruffle or flounce, 
tunic, in outlining yokes, at the bottom of sleeves, etc. It 
is put on so that its edge will come even with the edge to 
which it is applied and if more than one row is used let 
them come as far apart as about half the width of the 
quilling. When made of taffeta silk and material of like 
weight the quilling is cut only the width it is to be when 
finished plus an allowance for a narrow hem on either edge. 

Page Twenty-Four 



Trimming bands form an important part in dress deco- 
ration and embrace an enormous number of different kinds. 
The plain bands of silk, velvet, cloth, etc., have already been 
mentioned, then there are the fancy manufactured bands of 
silk and cotton embroidery, braid, jet, beads, spangles, etc., 
and a combination of one or more of these, also the hand- 
made bands of all descriptions. In fact, some of the most 
popular trimmings are hand-made and are of such a nature 
that with the instructions given in the lessons one ought to 




Fig. 449. 

be able to accomplish much along this line in a small 
amount of time at about one-third the price asked for 
such work in the shops. 

An illustration of a piped band, showing just how the 
piping is applied is given at the bottom of Fig, 449. For 
an eighth of an inch piping, cut the material into bias 
strips an inch wide and seam together. Fold lengthwise 
through the center and baste along the fold. Then baste 
along the parts to be piped allowing an eighth of an inch 
to show and three-eighths of an inch for seam and stitch 
as closely as possible to the edge being piped. Also in the 
upper left-hand corner of this figure is shown how to in- 
sert cord piping in a seam. 

The way to make a shirred band is shown at the upper 
right-hand side of Fig. 449. A corder to your machine, 
however, will make much more rapid work of it. The fin- 
ished shirred band is given in the second illustration of 

Page Twenty-Five 



Fig. 450, and the applied band in Fig. 451 in the Moyen-age 
dress which shows how effectively it may be used. The 
square effect in the yoke is obtained by mitering the corners. 
Divide the skirt width in arranging to apply the design just 
as explained for strapping designs. 

The first illustration in Fig. 450 represents an em- 
broidered band on net worked in satin-stitch and darning 
combined with 
outline and 
French knots 
with a V-shaped 
stitch in center 
of leaves. The 
third illustration 
in Fig. 450 de- 
picts a simple 
band of soutache 
braid combined 
with French 
knots in a darker 
r contrasting 
shade. For a 
variation the 
petal-like loops of 
braid might be 
filled in with the 
knots instead of i,^is. 450. 

placing them on the braid. 

The upper illustration in Fig. 452 shows an entirely 
different development of the same design shown at the top 
of Fig. 450 this one being worked in beads combined with 
shadow embroidery and darning-stitch — the latter being 
used in the leaf centers instead of in a band as in upper 
illustration of Fig. 450. 

The center of the acorns are filled in with seed beads 
the same color as the embroidery silk, and the spaces in 
the center of the leaves lightly darned with running 
stitches of gold thread one quarter of an inch apart. 
This band might be worked on ecru chiffon with silk floss 
in one of the wistaria shades. The illustration will show 
just where the shadow-stitch is employed. The lower part 

Page Twenty- Six 




of the acorns are worked either in the bugle beads or 
stitches of the silk. 

The band in lower illustration of Fig. 452 is developed 
on net of fine mesh. To make, baste the net upon a stiff 
paper upon which the design 
has been transferred and cut 
so that the net will extend 
about three-fourths of an inch 
beyond edge of design. Af- 
ter completing band the edges 
are turned the desired width 
and lightly stitched down. On 
cream net the flowers would 
be pretty of blue and worked 
in the long and short stitch. 
Sew gold beads and bugles al- 
ternately along the straight 
lines, a bugle in each petal 
and a pearl bead directly in 
the center of each flower. 
This design may also be car- 
ried out very effectively in 
coronation braid, the braid 
being sewed around the 
flowers, the stamens outlined 
having a French knot or a dot 
in satin-stitch at the end and 
in center of flower; also the 
horizontal lines outlined or 
darned. 

Fig. 453 shows applica- 
tion of rope silk and soutache 
braid. The upper band may 
be worked on pale blue net 
with a flat tinsel braid a quarter of an inch wide through 
the center and on each edge. The design on either side of 
the center braid may be worked with three threads of 
blue rope silk, either the same or a darker shade than the 
net, couched on with a gold thread. There is also the same 
couching on top of the tinsel braid along the edges. 

The band at the bottom of Fig. 453 is worked on rib- 
Page Twenty-Seven 




Fig. 451. 



bon of any shade desired the braid being a darker shade, 




Fig. 452. 



which is couched on with rope silk the same shade as the 
ribbon. After the ribbon has been stamped with the de- 




Fig. 453. 



sign it should be lined with a piece of tarlatan, which will 
keep the ribbon from puckering when worked. Each edge 

Page Twenty-Eight 










Pig. 454. 

is finished with a crocheted chain of soutache, which is first 
made and couched on. 

An embroidered band worked in satin-stitch may be 
developed from the design shown at the bottom of Fig. 445 
or it may be worked directly on the garment. It should be 
worked in two shades of silk in any preferred color that 
will harmonize 
with the gown. 
The space be- 
tween the par- 
all el lines 
forming the 
blocks is work- 
ed in slanting 
satin-stitch of 
the darker 
shade, while 
the sm al 1 
square at the 
intersection of 
the blocks is 
filled in on the 
same slant 
with the light- 
er shade. 

Fig. 454 illustrates an all-over embroidered net with 
a band to match worked with chain-stitch in rope silk. 

Page Twenty-Nine 



.^"'^^• 



1* '•* 



*> 


X. 




•PC ; 


<) 


^ 










.*, 








■ •»* 


-" -■V '»', 


iV. " ■ - 


• Vl^iiid 


■V>.t.'" . • 






Fls. 455. 



Applique comes in a variety of styles such as lace, 
crochet, beaded, silk, etc. It is used as a finish over raw 
edges of all-over embroidery, lace, etc., as shown on the 
gown in Fig. 448 and also to outline edges. 

Medallions, motifs, garnitures and festoons are orna- 
ments applied separately. The butterfly medallion shown 
in Fig. 455, however, is made on the garment, which is 
an exception to the rule. The lace is applied in Bermuda 
fagotting which is a very good stitch for this purpose as 
the line of the scallops is then well defined. The butterfly 




Fig. 456. 

is here carried out in the eyelet and solid embroidery. Me- 
dallions may be used to outline yokes, on the body of waists, 
the sleeves, on ruffles and flounces, etc. 

A most beautiful waist garniture is shown in Fig. 456 
which is made with a band to match, this garniture 
for the front of waist being connected with band 

Page Thirty 



over the shoulders and a strip across the back, or two 
bands which come from over the shoulders down in a 
straight line to the waistline. The figure here shows the 
design before and after it is worked. Net is the material 
usually used to embroider on and may be lined with chifi'on 
or mousseline as preferred. It is necessary that some 
foundation is under the net since it is difficult to transfer 
a design to it on account of the openness of the mesh. If 
a lining is not desired the net may be basted over cambric 
to which the design has been transferred and then ripped 
off when finished. The embroidery should be done in a 
frame. The bead fringe on the three center motifs gives 
the exquisite 
Oriental fi n - 
ish. The piece 
may be stud- 
ded also as 
shown with 
jewels. 

Fig. 457 
shows two fes- 
toons in braid 
— the first of 
the soutache 
combined with 
a fancy braid 
about the same 
weight and the 
second of sou- 
tache only, jet- 
ted with beads, 
ming. 

Under the head of buttons are the manufactured but- 
ton, the tailored button (made to order from the material 
of the suit, its trimming or a combination of both), the 
hand-made which may be embroidered, beaded, braided, 
crocheted, stenciled, etc. Instructions for making some of 
these will be given in the American Dressmaker. 

Sewing on a button seems a simple task but it is one 
which many women do in a wrong way. A button used as 
a trimming should be sewed down flat to the garment, while 

Page Thirty-One 




Pig. 457. 



They are very desirable as a coat trim- 



one used as a fastener needs strength and loose stitches en- 
duringly put in. No button fastens well that is sewed 
closely to the garment. Use twist and wax it so that a few 
stitches will suffice, putting the stitches back and forth 
through the upper goods only, in a lined garment. 

Braided frogs and pendants are used for the most part 
in the decoration of coats, and the making of a number will 
be described later in the Dressmaker^ 

Ribbon plays an important part in dress trimming and 
is used as straps, bows, rosettes, sashes, etc. Pig. 448 gives 
an example of how velvet ribbon may be used as a strap on 
ruffles, also as a strap finished in a loop and end on the 
front of a dress. Further explanation will be given of bows 
and rosettes in the Dressmaker. 

QUESTIONS. 

1. Name twenty or more different kinds of trimming. 

2. (a) What color beads are used, as a rule, on dark fabrics? 
(b) How may Oriental effects be obtained? (c) How is a garment 
prepared for beading? (d) Name three ways of sewing on beads. 

3. (a) Tell the object in cutting straps and bands on the true 
bias, (b) When both edges of a strap are stitched to a garment, what 
must one watch in the stitching? 

4. (a) In trimming solid colors what kind of straps are often 
used? (b) What kind on striped or figured goods? 

5. What three points are important in making double bias bands? 

6. Explain how to apply bands in skirt in Fig. 443. 

7. In applying a straping design to a garment what must be ob- 
served as to the main parts of it? 

8. In applying designs such as shown in Fig. 445 to a skirt how 
Is the space divided and design arranged? 

9. How are bands of velvet and filmy materials made? 

10. Name four ways in which lace insertion is used. 

11. Describe how to make tucked trimming bands. 

12. (a) How is quilling made? (b) Where is it used? 

13. Describe the making of an eighth-inch piping. 

14. Describe the difference in the working of the same design 
shown in the upper illustration of Figs. 450 and 452. 

15. How may Fig. 445 be embroidered? 

16. Name some of the different kinds of appliciue. 

17. What are medallions, motifs, garnitures and festoons? 

18. Why is the medallion shown in Fig. 455 an exception to the 
general rule? 

19. (a) With what and how is the waist garniture shown in Fig. 
456 used? (b) For wliat purpose are festoons especially desirable? 

20. Explain the difference in sewing on buttons for ornament and 
for fastening. 



Page Thirty-Two 



THE 

AMERICAN SYSTEM 

OF DRESSMAKING 



A Course of 

Instruction by Mail 

in the 

Science and Art 

of 

Successful 

Dressmaking 

And Ladies' Tailoring 



Lesson No. 24 



The American College of Dressmaking 

(Associated Training Schools, Proprietors. ) 

KANSAS CITY, MO., U. S. A. 



Copyrighted 1906, 1907, 1908 and 1909 
by J. M. Stelle 

Copyrighted 1910 and 1911 
h^ Associated Training Schools 



Jill rights reserved. 



'Printed in the United States. 



Clje 



American ^y^ttm 
of JDre00mafetn!i 

TAUGHT ONLY BY THE 

American College of Bressmafeing 
iSlansafi Citp, Mo. 

Miss Pearl Merwin, Supervisor. 

Lesson No. 24 

DESIGNING. 

This is to be a lesson on designing for beginners and 
practical dressmakers, therefore it is essential to find out 
right in the beginning what the term "design" involves. 
Generally speaking, a designer is one who draws, sketches, 
marks out or makes plans, as an artist who furnishes de- 
signs, as for prints, etc. There are many kinds of design- 
ers but the one we will deal with is the designer of fashions. 

A dressmaker may make beautiful dresses though she 
may not be able to design, but the development of the ar- 
tistic sense is fast compelling dressmakers to study and 
learn how to become designers. So do not confuse the term 
dressmaker with designer. A beginner or one who does 
sewing under the instruction or supervision of a teacher is 
usually called a seamstress which is by no means a dress- 
maker. A dressmaker is a director of fancy gowns and 
dresses and must understand color combination, though may 
not always be a good seamstress. A modiste is a woman 
who gives direction as to the styles or mode of dress and 
deals in exclusive fashionable apparel for women and may 
or may not conduct a dressmaking establishment in con- 
nection. The stages of the work are as follows : seamstress, 
dressmaker, modiste, and designer. 

Page Three 



It is very necessary first to understand the elements 
of sewing or dressmaking before one can become a compe- 
tent designer. One must have a thorough knowledge of 
anatomy, not as a physician studies it, but from an artistic 
viewpoint. It is not how bones are put together or of what 
they are composed, but what lines the bones and muscles 
make after they are put together. The position of the 
shoulders, neck, the manner in which the arms are placed, 
and the way heads are set on the shoulders, etc., will make 
a material difference to the designer as well as the cutter, 
for there are special designs for round shoulders, sloping 
and square shoulders, etc., as well as particular collars for 
the long, short, straight or curved neck people. 

Again, temperament is essential when taken from a 
psychological or temperamental view. This is especially 
true with reference to color as well as lines. Everyone con- 
cedes that a dressmaker must know enough about colors to 
be able to combine them, but the artistic awakening of the 
people demands that she know even more; if not, what 
would prevent her from dressing a red-haired woman with 
an impetuous temper in a red dress? Colors really have a 
distinct influence on our minds. Red is exciting, and orange 
nearly as much so. Blues and violets are restful and green 
is the most satisfying of any color to both eyes and nerves. 
People with drooping mouths and melancholic temperaments 
must not wear lines downward. The drooping corners of 
an overskirt will accentuate the drop in the corners of the 
mouth. Never wear turbans or hats which conceal the eyes 
and come way down over the face. Faces with hard lines 
must not attempt the metal ornaments as silver, or gold 
flowers or fruit, on the hats and gowns, especially when 
they come near the face. The metal mesh trimmings might 
be used if veiled ; the hard lines and folds of the metal ma- 
terial bring out the hard facial lines. 

There is also a certain seasonableness in colors. The 
reds, oranges and yellows are termed warm colors, while 
the blues, greens, and violets are called cool. A woman who 
wears the warm colors in hot weather will not only look very 
warm herself, but will also give an unpleasant sensation of 
heat to all who look at her. 

It is surprising what a place material fills in this field 

Page Four 



of work. Here, of course, we are almost entirely at the 
mercy of the manufacturer, and in the higher schools of 
learning, the process of analyzing material and ascertaining 
what is its real composition reveals to us the fact that we 
are frequently deceived as to the all-wool materials. In 
order to make a wise choice therefore it is necessary to 
know somthing of textiles which is an entire topic in it- 
self and will be discussed later. 

Then, too a designer must learn to be very observant, 
That is what our big designers go abroad for. They visit 
the different establishments where garments are designed 
as well as the fashionable resorts to see what people are 
wearing and how they are wearing it. This same obser- 
vation, however, may be carried out at home, on the street, 
in the street cars or anywhere you may chance to be. 

There is not a normal-minded woman in the world 
who does not want to look her very best in all her clothes, 
but there are only a few women who know how to secure 
this all essential, becoming effect. It is really an art to 
know how to dress becomingly, and, to the average woman 
a most puzzling art it seems. Every woman who gives 
much thought to dress realizes that the success of her 
gowns depends on their becoming lines. She has not only 
been told many times, but sees it in other members of her 
sex, that the becoming lines are far more important than 
the material of the frock, its trimming or even its color. 
The question in her mind is how to get this becoming line 
— how to accentuate it in her own gowns. 

The first step toward answering this question or solv- 
ing this problem is that a woman should knoiv herself. She 
should have an ideal image of herself and should force her 
mind to hold it. Her features and form should be a foun- 
dation on which to build a charming individuality. This 
self-knowledge, however, must be accurate and candid 
without the slightest trace of flattery. A few women who 
have learned how to dress properly spoil the whole effect 
by so plainly showing that they are striving to invite favor- 
able comment and flattery, which is not only repulsive, but 
obnoxious to the refined and intellectual woman. 

Style is intelligence. It means study — the study of 
color and draping and the magic of the proper line. It 

Page Five 



means knowing how to lift dress from being merely a 
covering into making it a living part of oneself. It means 
the knowing how to select one's clothes and how and when 
to wear them. It is knowledge of self. Women should 
not only know how they really look but how they should 
look. Intelligent dressing will change the one into the 
other. 

Dress experts have long since realized the necessity of 
a study of the individual. They speak much of the proper 
line, the becoming line, in dress. What, then, is this be- 
coming line in dress which is regarded so essential? It is 
the conforming of the dress to the ideal figure, this figure 
which a woman should compel her mind to make and to 
hold, so that through dress a perfect figure may be at- 
tained. It is the lack of knowledge of her type that makes 
many women badly dressed. They like to wear what they 
admire most, what they see other women wear, what they 
know to be popular, regardless of whether or not it is 
suited to their own individual selves. 

It is individuality that counts in dress. It is necessary 
to follow the tendencies of the new fashions to be considered 
well dressed, but never follow the mode just because it is 
the latest edict from Dame Fashion, regardless of whether 
it is becoming to your type or not. Study yourself like 
you would a book, know every good point of your figure 
and every defect, and then dress to emphasize the one and 
conceal the other. 

Did you ever notice what a difference there is in the size 
of people? Have you also noticed there are many women 
the same size who cannot wear the same clothes ? Have you 
ever thought of a reason why they cannot? Have you ever 
noticed two women wearing the same style suits on the 
street and observed how stylish one appears and how passe 
the other one looks? Do you know the reason for this? 
Well, that is what we call lines adapted to poise. The lines 
or seams for the stylish-looking woman suited her exactly 
while the lines for the other one were not adapted to her 
figure in any respect. The coat may appear too large, the 
shoulder seams too long, the seams running to the shoulder 
in the back from the waistline may be too far over, the dart 
seam may not have the proper curve, the lapels may be too 

Page Six 



long or too short, the coat itself may be too long, and many 
other things wrong. A designer must know how to over- 
come these things — these misapplications of lines before 
she can be a good designer. 

Did you ever have a coat or dress that made you look 
round-shouldered and yet fitted very well? What was the 
matter with it? Perhaps the side-back seams went to the 





Fig. 459. Fig. 460. 

armhole instead of to the shoulder. If they extended to the 
shoulder in the first place, then perhaps they were placed 
too near the armhole instead of being nearer the neck curve. 

Page Seven 



A good designer will know just where to place these lines 
that will be suitable to your individual type. 

Fig. 459 represents the stylishly-dressed woman with 




Fig. 461. 



Fig. 462. 



Page Eight 



lines adapted to her type while Fig. 460 illustrates prac- 
tically the same suit with lines drawn in the wrong manner 
for that type of individual. Fig. 461 is the same type in 
evening dress as shown in Fig. 459 while Fig. 462 represents 
Fig. 460 in the same dress. Note how the rounding yoke 
lines only tend to accentuate her round shoulders. 

Following is the standard size the majority of artists 
use for models : Five feet, five inches in height, thirty-six- 
inch bust under the arms and forty-four outside of the 
arms, and twenty-four inch waist measure. However, a 
woman may be perfectly formed but have larger or smaller 
measures than these, but she must be governed by the fol- 
lowing proportions: 

Head measure is taken from just under the chin to the 
top of the forehead. 

Body and limbs should be eight times the head. 

Shoulders should be two heads wide outside of the 
arms. 

From the bottom of the chin to bottom of breastbone 
should measure one head. 

From bottom of breastbone to waistline should measure 
one head. 

One head from the beginning of the waistline to the 
beginning of the limbs. 

One head from the beginning of the limbs to the middle 
of the thigh. 

One head from the middle of thigh to the bottom of 
knee. 

Two heads from the bottom of knee to bottom of foot. 
Hips should measure two heads wide. 

Figure 463 represents the perfect form — two heads 
above the waistline to chin and five heads below. Two heads 

Page Nine 



across the shoulders and two heads 
across the hips. When a woman 
measures less than two heads for 
the length of her waist or more 
than two heads across the should- 
ers she will appear short-waisted. 
If she measures more than two 
heads for the length of her 
waist and less than two heads 
across the shoulders she will 
appear long-waisted. It is the gen- 
eral outline to which we refer ( 
when we call one either short- 
waisted or long-waisted, and short 
or long in the skirt. But these 
lines must all be taken into con- 
sideration when designing a gar- 
ment so you will know which lines 
to accentuate and which to conceal. 
Garments for the short-waisted 
woman must be planned with long 
lines, while the lines must be 
shortened to give breadth for the 
long-waisted person. 

An exception to this rule, how- 
ever, is when a person measures 
larger around the bust or hips 
than she should normally. Even 
though the breadth of her should- 
ers may be right and the length of 
the waist and skirt right, the extra 
size through the bust or hips 
would shorten the waist and skirt 
lines. Fig. 464 is an outline of a short-waisted person with 
large bust and hips. Fig. 465 is an outline of a long- 
waisted one. Fig. 466 shows how the right lines will make 
the short-waisted woman appear taller and Fig. 467 shows 
how the correct lines will make a tall, long-waisted, narrow- 
shouldered woman look well proportioned. 

Thus far we have considered figures with the same 
lines or a harmony of lines in both waist and skirt whether 

Page Ten 




Fig. 463. 



long or short. There are two other types that frequently 
give much trouble and they are the ones with a short waist 
and long skirt, and the long waist and short skirt, found 
in both tall and short women. (See Figs. 468 and 469). 
You see the long lines of the skirt in Fig. 468 will tend to 





Fig. 464. Fig. 465. 

accentuate the shortness of the waist and the only way to 
gain balance is to use long lines in the waist that will tend 
to shorten the lines of the skirt, as shown in Fig. 470. 

Next, take the long waist and short skirt shown in 

Page Eleven 



Fig. 469. This is a little more difficult for in broadening 
the shoulders one is liable to broaden the hips at the same 
time. Fig. 471 shows how Fig. 469 may be dressed to give 
pleasing results. In wearing suits, this type should 
be very careful about wearing waists of a different color 





Pig. 467. 

than the skirt because the contrast will cut the figure. A 
belt like the skirt, however, will improve it. 

An extremely short-waisted person must be cautious 
in selecting an Empire gown, for short lines of the gown 
may accentuate the lines of the figure, but to a person with 

Page Twelve 



a slender waistline and well confined hips it will be very- 
becoming. When the dip front was worn many women who 
were large and short-waisted, in trying to appear slender, 




Fig. 468. 




Page Thirteen 



extended the waistline too far which resulted in a wrong 
.proportion by making the limbs appear too short. 

Fig. 472 represents a person with slender waist, slight 
hip and flat bust who is rather difficult to fit. The best way 
to plan a dress for this figure is to raise the waistline, use 





Fig. 470. 

Page Fourteen 



Fls. 471. 



ruffles or padding across the front over the bust and then 
drape the material as illustrated in Fig. 473. 

Fig. 474 is the hardest figure in the world to make look 




Fig. 472. 






^^, 






?m 



^^^' 



:^^ 



s*^^ 



iy^M^ 



^( 



%, 



* 



FIgr, 473. 

Page Fifteen 



stylish. Note how the waistline dips slightly in the back. 
First, get a good straight-front corest with long hips and 
see if you can reduce the curve in front over the abdomen, 
and add to the hip and back curve. Of course, the corset will 
not entirely correct the poise, as nothing can do that but 
the individual herself, but it will be of great assistance to 





Fig. 474. 



Fig. 475. 



Page Sixteen 



her. When it is impossible to get her to stand in the cor- 
rect position, then improve the lines the best you can. First, 
raise the skirt at the waistline in the back which will im- 
prove the slant of the waistline. Then holding the abdomen 
in, filling in the form at waistline and raising the bust, by 
using a good corset, will lengthen the front line and bring 
the waistline down a little more in front. The waist will be 
thicker through but it is better to sacrifice the size of the 
waist than the general outline which is more important. 
Never use a full length panel on this figure as it makes the 





Fig. 476. Fig. 477. 

Illustrations shoiring hoTV long lines may be worn by tall people. 



Page Seventeen 



chest appear still more hollow. Do not attempt an Empire 
for that will accentuate the breadth and depth of shoulders 
and bring out the poise by trying to conceal it. There is a 
vast difference between trying to cover a thing and counter- 
balancing it and the latter is what you must do in this case. 
Fig. 475 represents a good style for this sort of a form. 




Fig. 478. Pis. 479. 

Illustrations showing how impossible it is for the stout woman to wear 

the same style as the slender TToman. 

If a figure is both short and slender it must be built 
both ways. For were you to use long lines only you would 
accentuate the narrowness of the shoulders, and were you 

Page Eighteen 



to broaden the shoulders only you would make her appear 
shorter. So use long lines, box-plaits, for example, with 
shirring between which will add breadth. Shirrings are ex- 
cellent for increasing the size. Fluffy ruffles will broaden 
but combine them with long lines of trimming as bands, 
etc. The kilt skirt is always a boon to this figure as the 
long lines of plaits give length and the spring of the plaits 
give breadth. 

Bead fringe or fluffy trimmings shorten by apparently 
adding width or breadth. Large plaids or figures are good 
for the skirt for they tend to reduce length. In waists or 
coats, military effects are only for full busts, as trimmings 
put on horizontally will flatten, as any flat line placed on a 
curve will reduce it. Fluffy trimmings are best for thin 
women. Revers, ruffles, berthas, and fichus are good for 
slight figures. 

We also have people who require a combination of soft 
and severe things. Many times a soft bow or jabot will off- 
set an otherwise plain tailored coat. There are times when 
a severe bow or bit of trimming placed in a stiff manner 
will add a touch of character or give style to the garment. 
When a gown is not stylish it is lacking in some distinctive 
touch which will give it an individual air. The French are 
noted for their artistic touch which is generally expressed 
by a bow, button or fold. 

In dissecting the figure, so to speak, the only parts to 
consider are the waist, sleeve and skirt. If a sleeve is well 
balanced it will hang from the shoulder proper and not from 
the shoulder seam; if it appears to hang from the shoulder 
seam it will look disconnected from the body. The neck 
and shoulders are the most important parts of a waist; so 
balance the waists from the neck and shoulders. A coat is 
balanced from the shoulders. The skirt is hung or balanced 
from the hips and not from the waist as so many think. The 
most important portion of the skirt is at the hip, so if the 
skirt fits the hips it is easily taken in or let out at the waist- 
line. But if the balance of the skirt is lost, the skirt is prac- 
tically ruined. 
SUMMARY OF LINES :— 

Broad lines for tall people. 

Long lines for short people. 

Page Nineteen 



Broad lines for slender figures. 
Long lines for stout figures. 

IN COATS:— (Tall people). 

The length of a coat will make or ruin a suit. 
Tall people should wear three-quarter length. 
Full length if cut with trimming. 
Knee length. 

IN COATS :— (For short people) . 

Short people can wear seven-eighths length. 
. Full length. 

Hip length, unless hips are too large, then either above 

or below the hips. 
Just above or below the knees. 

Harmony of Color is the next important step after 
proper adaptation of lines. If the color is not in harmony 
with the wearer, the smartness or chic is destroyed. A 
gown may be made that is absolutely satisfymg as far as 
its lines are concerned, which of course, is well and good, 
but when worn it proves to be a sad disappointment on 
account of its color not measuring up to the type of the 
wearer. Certain colors have a trick of adding a dozen years 
to one's age, while others lend an allure that is irrisistible. 
Some shades bring out the best points in a complexion, 
where a deeper or lighter tone of the same color would 
deaden them and give one an unwholesome pallor. 

If one chances to be endowed by Nature with a peculiar 
combination of tones, which make some one color seem 
much more becoming than any other, then adopt that color. 
By using the various tints and shades one may get a great 
deal of variety, and the little dashes of contrasting colors, 
etc., in trimmings or accessories of gowns would prevent 
monotony. Nature teaches us to use the brightest colors 
very sparingly and there is no greater teacher to whom we 
may go than she. Even in the autumn, when she uses her 
colors most lavishly, the brown of the ground, the soft 
blues or grays of the sky furnish the quiet and subdued 
background on which she has painted the gorgeous touches. 
We may safely follow such a guide and we shall find that 
the softer grayish colors of the rich dark tones should form 

Page Twenty 



the main portion of our gowns, and that the stronger notes 
of vivid, pure color should be small. 

Take for instance, the brilliant sunsets. The light 
yellows, reds, etc., of the sky last but a few moments, and 
are replaced by the quiet blues and violets of twilight. So 
it is with the gorgeous tones of the autumn colors. They 
last but a few days and are replaced by the quiet browns 
and grays of winter. Nature teaches us in these examples 
that brilliant colors should not be used in things which we 
have constantly before us. Applying this lesson to cos- 
tumes we can easily see that a gown which is to be used 
for a few occasions may have a more striking color scheme 
than one for every-day wear. The color may be ever so 
beautiful in itself, but if not in keeping with the use to 
which the gown is to be put it becomes unattractive. 

COLOR. 

We must know something about the origin of color be- 
fore we can intelligently understand the combination of it. 

Color must be considered in reference to complexions 
as well as material. We could make a gown or suit and 
have perfect harmony of color, and place it on one to whom 
it is unbecoming and ruin both the complexion and the gown. 
The gown itself might be becoming enough, but the trim- 
ming would offset the entire gown by clashing with the color 
of the eyes or hair. So you see, we must know what colors 
different types can wear. A little understanding of how 
color is made will doubtless assist you in combining the two. 

First, we will consider color with reference to material, 
for after all, that is the most difficult. The manufacturers 
persist in keeping us studying by everlastingly making new 
shades and tones and combining them. We must take what 
they place on the market; so in order to make a wise selec- 
tion we study color. 

Originally, way back in the old Egyptian times, artists 
had only three colors with which to work; they are called 
primary colors : red, yeilow and blue. 

They learned they could have two reds by making one 
from the Madder Root, a plant, and the other from Cochneal 
or insects. 

Page Twenty-One 



YELLOW : One yellow was obtained from the earth and 
the other from gum rosin which was gathered from trees. 

BLUE : One blue was extracted from a berry and the 
other from rock and earth. 

These are the only colors they had and it took them 
years to find the two colors of each ; their next step was to 
combine these primary colors, making more colors which we 
call secondary colors, meaning made of two colors. 

TABLE OF COLORS. 

Red and black make brown. 

Red and yellow make orange. 

Geranium lake and white make rose. 

Blue and yellow make green. 

White and brown make chestnut. 

White and carmine make pink. 

White and green make bright green. 

White and emerald green make a brilliant green. 

White and yellow make straw color. 

Indigo and lamp black make lead color. 

Black and Venetian make chocolate. 

Purple and white make French white. 

Light green and black make dark green. 

White, blue and lake make purple, but purple lake may 
be bought and if used with white will make lavender. 

White, blue and black make pearl gray. 

White, lake and vermillion make a flesh color. 

White, yellow and Venetian make cream. 

Umber, white and Venetian make drab. 

Red, blue, black and yellow make olive. 

Yellow, white and a little Venetian make buff. 

White is the combination of all colors but color makers 
have discovered that white can be made from Oxide of 
Zinc. White mixed with any color makes a lighter color or 
tone. Black is the absence of all colors or can be made by 
charring ivory. Black mixed with color will make a darker 
color or shade. 

In combining colors do not use a heavy color of one and 
a light color of another or you will lose the balance of color. 
Two or more heavy colors or two or more light colors may 
be used together. 

Page Twenty-Two 



Complementary colors are two colors so related that 
one makes up to the other what is lacking for the produc- 
tion of white light. Two secondary colors are not comple- 
mentary to each other but a primary and secondary color 
can be complementary to each other. Purple is complement- 
ary to yellow being composed of red and blue. Orange is 
complementary to red being composed of yellow and red. 
Orange is complementary to yellow being composed of red 
and yellow. 

Complementary colors form the strongest contrasts we 
have, therefore cannot be used together only as a trimming. 
For instance a green hat or suit may be trimmed with red 
but not both green and rea used for the foundation material. 

Tertiary colors are those made of three combinations 
of colors, as the last seven given under "Table of Colors." 

Colors are referred to as warm and cold, the presence 
of red and yellow in color makes what is known as warm 
colors. The presence of blue or green in color makes what 
is known as cold colors. 

Some of the secondary colors known in cloth are 
schrimp, and coral; they are red and yellow with red pre- 
dominating; topaz is yellow and red with yellow stronger. 
Some of the yellow-greens in material are known as apple 
and pea green. Sage and poppy foliage are excellent ex- 
amples of gray-green. 

Emerald and sea-green are of the blue greens. Orchid 
is red-purple. Violet, lilac and plum are blue purples. 

Some of the yellow-reds are crimson, scarlet, vermil- 
lion and cherry, while reds with blue in them are of the 
darker shades and are wine, American beauty, etc. 

In blues, take navy for instance, there are greenish and 
purplish casts. Some of the gray-blues are Alice or cadet 
blue. 

Black is of greenish, bluish, brown or gray casts. A 
gray-black generally has cotton in it, which gives it the 
gray tone, as cotton does not take color well. Ivory black 
is a pure color. Salmon or schrimp belongs to red and 
yellow but is more correctly speaking pink or orange. 

Tan is brown and white or yellow. Some of the tans 
have a little blue giving a greenish cast. Some tans have 
a little more red making them warm, and some are gray in 

Page Twenty-Three 



appearance. In material as in water color, you will find 
reds of different tones and shades, for different kinds of 
material take color differently. If you ever tried dyeing 
you will know that a piece of wool, silk and cotton put in 
the same dye will not come out the same shade. 

In silks you will find the best coloring and greatest 
range of color, but many times wool will at least harmonize 
with it, even though it does not match. 

We must know what the complexions comprise before 
we can tell the effect of color upon them; let us consider a 
chart on complexion. If all the women in the world were 
included in just two types, the genuine blonde and the true 
brunette, the question of becoming colors would be a very 
simple one, because the one type would follow the laws set 
forth for their guidance, and the other the rules relating to 
their particular coloring. These types, however, are divided 
into a number of different classes, each, of course, requiring 
a different treatment. This is what makes it difficult for a 
woman whose natural coloring differs from the true types 
to choose exactly what will be most becoming to her. She 
probably knows what colors a perfect blonde or a real 
brunette should wear but she is also aware that she repre- 
sents neither type and consequently the question of be- 
coming colors becomes a problem to her. 

When studying the combination of colors it is a good 
idea to study those of Nature, as the flowers, autumn leaves, 
sunsets and the brilliant plumed birds. Perhaps more var- 
ious combinations can be gotten from the latter than from 
any other source in the world. The most brilliant of these 
are the bird of paradise, golden and silver pheasants, par- 
rots, wild ducks, wild geese, etc., etc., all of which may be 
studied in any zoological museum. 

BLONDES. '^ 

Under the blonde type we have the genuine or perfect 
blonde, the blonde of deep coloring, the colorless blonde, the 
red-haired blonde, the ash blonde and the sallow blonde. 
The genuine blonde's skin is fair, her hair light golden and 
her cheeks tinted with a delicate pink. The blonde of deeper 
coloring has creamy skin rather than white and the faint 
flush heightened to red. The colorless blonde is an entirely 
different and opposite type, with pale waxy skin, the eyes 

Page Twenty-Four 



usually blue, blue-gray or perhaps violet. The blonde of the 
Titian locks is a type that requires a good deal of judgment 
in choosing successful colors for it, as well as the ash and 
the sallow blondes. 

Now, it is obvious that the same colors will not suit 
alike every class of blondes. Those that would serve to em- 
phasize the charms of the voluptuous blonde would be en- 
tirely too overpowering to the colorless or ash blonde. Their 
delicate tints would be simply killed by the bright vivid 
tones the golden blonde finds so becoming. 

The genuine blonde is perhaps the easiest class to gown 
successfully. She is known by her fair skin, sometimes 
waxy but quite healthy looking, often transparent, a faint 
pink tint upon her cheeks, and hair that may vary in shade 
from pale gold to golden brown. Her eyes may be blue, 
blue-gray, greenish-gray and sometimes violet. This type 
seldom has pure gray eyes, though brown is not unusual. 
The colors that will suit a genuine blonde are all shades of 
blue, including blue-grays, turquoise and peacock, pearl gray, 
dove and warm grays, pale and dark green, pale pink, dark 
red, mauve, heliotrope, old rose, pale yellow, purple, wis- 
taria, very dark brown (not golden brown), black and 
white. 

The blonde of more vivid coloring must be careful in 
her choice of colors, otherwise she is apt to appear over- 
dressed or common and perhaps loud. The hair will be 
golden, no doubt, the lips scarlet and the flush of the cheeks 
so bright as to appear almost unnatural. As a rule, this 
type looks best in an all black toilette, but the material se- 
lected must be in a dull, soft jet black, not a blue-black. 
White is good, but in choosing colors avoid those that are 
too strong in tone. The pastels rather than the genuine 
tones should be selected. Faded blues, greens and helio- 
tropes, very dark browns and dark greens are admirable. 
Palest pink, also a very light shade of buff may be worn 
with discretion. 

The colorless and the ash blondes are often included in 
the same class. The types do resemble each other very 
closely although it will be observed that while the com- 
plexion of the former is absolutely devoid of color, the ash 
blonde possesses just the faintest flush of pink in the cheeks. 

Page Twenty-Five 



Her hair is less blonde in hue. The colorless blonde may 
wear gray, white, cream, blue-gray, peach color, navy 
blue, very pale pink, old rose, palest mauve tinged with pink, 
golden brown and Alice blue. Gray is a good color for bring- 
ing out any pink tints that may be lurking in the cheeks or 
lips, therefore is a color that should be adhered to closely. 

The ash blonde will look best in pearly white, soft black, 
and dove grays. Again all strong colors such as red, card- 
inal, cherry, wine color and orange should be avoided, and 
the pastels chosen rather than the genuine colors. Wistaria, 
peach, apricot, lily leaf green, blue mauve, pale blue, and 
pale shell pink are good, while for street wear she may select 
blue-grays, warm gray, deep brown, navy blue, purple, dark 
heliotrope and dark green. 

The red-haired blonde is divided into two classes, the 
blue-eyed, pink and white type, the hair apparently fiery 
red; and the blonde of the clear, colorless skin, not pale 
exactly, but a healthy ivory tint, usually has dark eyes, and 
hair more auburn than red, though often the hair will be 
of the same tint as that of the blue-eyed blonde. As green 
and the heliotrope shades tend to increase the pallor of the 
skin, it is obvious these colors should be avoided by the pale, 
colorless auburn-haired blonde. At the same time these 
colors will be extremely becoming to the pink and white 
blonde of this type. Pearl and dove gray, maize, sunset yel- 
low, apricot color, cream or ivory white are also good for the 
latter. Both can wear rich, deep dark browns but the golden 
and yellowish browns should be strictly avoided. 

Colors becoming generally to the blue-eyed, auburn- 
tressed woman are black, milk white, gray, pale and dark 
green, navy blue, peacock blue, blue-gray, cadet blue, mauve, 
purple and cream. 

The sallow blonde is the most unfortunate of all for 
very few colors are becoming to her. Cream and deep ivory 
are preferable to pure white. Bright, dark reds, rich 
cardinal as well as warm grays, will have a tendency to 
whiten the skin. The latter, however, should be relieved 
with a little burnt orange or ecru lace. Yellow and pale 
orange may be selected as colors for evening gowns, relieved 
by creamy lace near the face. 

Page Twenty-Six 



BRUNETTES. 
There are about as many different classes of brunettes 
as there are among the blondes and they are classed as fol- 
lows: the genuine brunette, the creamy brunette, the fair 
brunette, the sallow brunette and the olive-skinned brunette. 

The genuine brunette is, of course, the easiest type to 
dress successfully. Her dark eyes, dark hair, and dark skin 
form a whole so entirely harmonius that there should be no 
difficulty whatever in finding suitable colors. As a rule, a 
pink flush and red lips accompany the rich, dark skin and 
when this is so, it will be found that there is quite a long list 
of colors from which to choose. She can wear cream, ivory, 
every shade of yellow, orange, red, cardinal, crimson, fawn, 
tan, silver-gray, pale rose and pale coral pink, pale and dark 
blue, old rose, ecru, golden brown and dark green. The lat- 
ter, however, must not be attempted unless there is color in 
the cheeks or lips, or if there is a trace of sallowness because 
green has a tendency to increase pallor. 

The creamy brunette has skin that is usually pale but 
warm looking, the hair brown or black, the eyes blue, violet 
or brown. As a rule, the lips are red, and the skin though 
pale, is perfectly clear and smooth. When the eyes are dark 
she may choose her colors among the yellows, amber, warm 
gray, relieved with a little pale pink, deep red, golden brown, 
rich golden tan, old rose, pale pinks, pale and dark blue, 
cream and ivory white. When the eyes are blue, blue-gray 
or violet she will appear to advantage in a gown of crimson 
for day wear and poppy-red for evening. Other colors are 
gray-blue, silver-gray, deep rich blue, golden brown, natural 
tan, all shades of old rose and pearl-gray. 

The fair brunette may have dark hair, blue eyes, vary- 
ing in tone from pale blue to deep sapphire, gray, gray-blue 
or violet. The skin will show a faint, pink flush and lips only 
a shade or two darker in tint. Warm blues, all shades of 
gray, golden brown, golden tan, mustard, amber, silver and 
blue-grays, cream and ivory white will suit this type. Dark 
red, shell pink, blue, white and black are desirable colors for 
wear. The fair brunette should bear in mind this one par- 
ticular point : that she can not successfully wear the strong 
colors that are so becoming to the genuine brunette, but only 

Page Twenty-Seven 



an echo of them, for the reason that strong, pronounced 
colors will kill the delicate tints of her coloring. 

The sallow brunette is as difficult to dress becomingly as 
the sallow blonde. As a rule, the eyes are clear, and the 
skin smooth, even though it may be dark in tone. Even the 
lips will appear to be purple rather than red. Therefore a 
gown must be chosen with a view to bringing out and em- 
phasizing the few charms that are at command. A very 
dark old rose will prove a good choice, and so will the darker 
tones of terra cotta. -Then there are the dull reds, warm 
grays touched with a little flamingo, orange, flame color, 
cream and deep ivory white, all of which will be more or 
less becoming. 

The olive-skinned brunette is often classed with the 
sallow brunette though she is an entirely distinct type. Her 
range of colors, however, is similarly limited. She can wear 
crimson, golden and chestnut brown, deep apricot, old rose, 
deep rose red, milk-white, ivory, cream, yellow, touches of 
orange, deep-maize, navy blue and amber. Colors that 
should be strictly avoided are mauve, purple, green and light 
blues. 

THE BETWEEN-COLOR TYPE. 

Besides the blonde and the brunette there are varieties 
of both types ; that is persons who can not be listed as being 
either dark or fair but "between." The hair is usually a 
pale brown, akin perhaps to the hair of the ash blonde, but 
lacking the clear tint found in the tresses of that type. 
When the hair is on this tone and the eyes are brown, the 
colors that suit the fair brunette will be apt to be becoming. 

When, however, the hair is chestnut-brown, then the 
choice should be among the colors becoming to the blonde. 
When the eyes are blue, gray or gray-green, turquoise will 
be becoming. Green, both emerald and olive may be worn, 
also lilac and pale lemon. Rich chestnut-brown deepening 
the shades of the hair will help to bring out certain lights, 
if the skin is not sallow. Green will also be becoming if skin 
is fair. Very dark red, also wine color will be becoming in 
solid rather than transparent materials. , 

Pale blue will become the blue-eyed chestnut haired 
woman for evening wear. Gray in dove and pearl shades 

Page Twenty-Eight 



will be an equally good choice, while for street wear there 
is nothing better than navy blue. 

The woman possessing pale brown hair, if the complex- 
ion is good, may wear black, white, cream, pale pink, pale 
and dark blue, old rose, pale and dark green, mauve, wis- 
taria, golden brown, warm grays, wine color and purples. 
Red will be very becoming if skin is inclined to sallowness, 
as reds have the effect of whitening the skin. 

• A most important point to be borne in mind by the 
woman of between colors is that all such neutral tones as 
pale tans, mode, fawn and putty color must be religiously 
avoided if she would look her best, and surely every woman 
does. 

COLOR VERSUS TEMPERAMENT. 

Color must be considered with reference to tempera- 
ment as well as material and complexion. At first one can 
not see the connection, but temperament plays an important 
part in the color scheme as follows : 

A cold, distant disposition must be clothed in warm 
tones unless one wishes to be unapproachable. 

A meek, shy little creature needs warm color also, and 
colors which have some distinction ; not necessarily loud or 
conspicuous, but enough so that she will be noticed. Were 
she dressed in cold, dark, absorbing shades, no one would 
see or know that she was around ; her clothes must enhance 
or bring out the delicate color and simple, shy little nature. 

For one of an aggressive temperament or boisterous 
manner, clothes must tend to quiet and soften, forming a 
background so to speak. Were you to place loud colors on 
this type, as vivid green, red and yellow, the combination 
would be uncontrolable. The colors themselves effect the 
nerves without being combined with such natures. 

Everything in life needs a balance, so remember this 
particularly when dressing children and school girls, as they 
are very sensitive to the influence of color. 

On the other hand, too vivid colors on a shy, modest girl 
will conceal the personality, so that all which can be seen is 
clothes and the poor girl might as well be a model as a 
human being. 

A girl may not be loud, or coarse, but just full of viv- 

Page Twenty-nine 



acity, having plenty of color and action, so place colors on 
her that tend to subdue. 

People of melancholic mentality need warm, cheerful, 
inspiring colors as warm browns, warm lavenders, pink and 
old rose colors. 

Grays and lifeless browns, make some people stupid, 
and so on indefinitely. 

Purple and lavenders lend dignity and self-respect to 
those who can wear them; when unbecoming, they have" the 
same or worse effect than blue. 

Very demonstrative and frivolous natures require col- 
ors that lend dignity and reserve. Grays are usually good 
for them. Pleasant, agreeable people radiate warmth and 
can be clothed in cold colors. Fiery tempered people also 
need cool or cold colors. 

Black has the effect of mourning over some natures 
for the color is so heavy and absorbing that it prevents in- 
dividuality. But there are some for whom it forms a back- 
ground making a beautiful picture, but it requires strength 
of color and temperament to counter-balance the weight of 
the color. 

Blondes can wear black best when it is of a transparent 
material or of soft finish, or material that absorbs the light 
as velvets and dull crystals. 

Black for brunettes is best in satins or material that 
reflects light as spangles and cut jet. 

COLOR FOR SPECIFIC PURPOSES. 

Now, after you have mastered the above do not spoil 
the color scheme by wearing the wrong colors in regard to 
temperature and the time of day. 

All light, airy, colors are confined to the evenings or 
afternoon functions which are artificially lighted, and to 
warm days as in summer. 

For cool spring or autumn days the colors to wear are 
warm reds, browns, greens, purples, wistaria, in fact al- 
most all warm tones can be worn during these months. 
These colors are best in the day time as the artificial light 
kills their beautiful rich colors. 

Page Thirty 



Cool colors and thin materials are for summer days. 
Light colored suits as broadcloth and serge, rose shades, 
lavenders or peach are not permissible before noon, but may 
be worn for receptions and afternoon functions. These 
colors worn in a public conveyance in the early hours make 
the wearer conspicuous and subject to comment. 

Black can be worn either day or evening by a blonde 
or brunette. But the latter must have a sparkling com- 
plexion if black is worn at night. 

Colors to be worn under artificial light must be chosen 
under the same, as some light tones that are beautiful by 
day-light lose their brilliancy and become dead by artificial 
light. The merchants are of great assistance when pur- 
chasing evening colors for they are kept in a section by 
themselves. 

COLORS ADAPTED TO FIGURES. 

Color adapted to different sized figures is just as es- 
sential as it is considered in reference to complexions. 
Lavenders and purples with their shades and tones are par- 
ticularly suited to women of large proportions. The rays 
cast from color become a part of the shadows, making the 
outline of the figure not so distinct. The t)rilliant hued 
colors outline the figure so that the entire size is seen at a 
glance, therefore making it seem larger. Grays, especially 
the darker ones, are good because they become a part of the 
shadows. Brown is another color which is not good for 
large people unless it be in very dark shades but even then 
other colors are better. 

Black, although worn by any and everyone is best suited 
to medium sized people; a small woman who is slight will 
look better in colors that bring out her complexion than 
she does in black. Navy blue is the only color that is just 
as good for a large as for a small woman so far as size is 
concerned. 

For women who wish to add height remember 
that tones or shades of a color will give the desired effect 
and that contrasts or analogous harmonious colors tend to 
reduce the height. Therefore, a woman who wishes to re- 
duce can employ color as well as line by using contrasting 
colors. 

(To BE CONTINUED IN LESSON 25) . 

Page Thirty-One 



QUESTIONS. 

1. How are seamstress, dressmaker and modiste distinguished 
from one another? 

2. (a) In what way does temperament play an important part 
in color and designing? (b) Seasonableness of color? (c) Ob- 
servation? 

3. What is the first thing a woman should learn preparatory to 
dressing herself? 

4. What is style and what does it mean? 

5. What is meant by the proper adaptation of lines in dress? 

6. What is wrong with the coat in Fig. 460 for that form? The 
dress in Fig. 462 for that form? 

7. (a) Of what proportions is the perfect form? (b) When is 
a woman short-waisted? (c) Long-waisted? 

8. (a) Of what must one who is short in waist and long in skirt, 
be careful? (b) One who is long in waist and short in skirt? 

9. What is the best way of correcting a form like the one shown 
in Fig. 474? 

10. What kind of trimmings are excellent for increasing the size? 

11. How does the lack of harmony of color effect a gown as well 
as the wearer? 

12. (a) In what ways may we learn from Nature in regard to 
colors? (b) What were the three original colors? (c) What is 
meant by secondary colors? (d) Complementary colors? ^(e) Ter- 
tiary colors 

13. Name the different kinds of blondes. 

14. (a) By what is the genuine blonde known and what are her 
appropriate or becoming colors? (b) What are the characteristics 
of the blonde of deep-coloring and what colors are becoming to her? 

15. (a) What colors are becoming to the colorless blonde? (b) 
The ash blonde? 

16. (a) How are the red-haired blondes divided? (b) Name 
some colors becoming to each class? 

17. (a) By what is the genuine brunette known and what are 
her becoming colors? (b) The creamy brunette? (c) The fair 
brunette? (d) The sallow brunette (e) The olive-skinned 
brunette? 

18. (a) What characteristics has the "between-color" type? (b) 
What colors are becoming to her? 

19. What are some of the examples given in regard to color and 
temperament? 

20. (a) What colors are desirable for spring and autumn? (b) 
For summer, and what colors are to be avoided in the mornings? (c) 
What is meant by colors adapted to figures? 

Page Thirty-Two 



THE 

AMERICAN SYSTEM 

OF DRESSMAKING 



A Course of 

Instruction by Mail 

in the 

Science and Art 

of 

Successful 

Dressmaking 

And Ladies' Tailoring 



Lesson No. 25 



The American College of Dressmaking 

(Associated Training Schools, Proprietors.) 

KANSAS CITY, MO., U. S. A. 



Copyrighted 1906, 1907, 1908 and 1909 
by J. M. Stelle 

Copyrighted 1910 and 19/1 
h^ Associated Training Schools 



Jill rights reserved. 



Printed in the United States, 



%^t 



American ^p^tem 
^f Bre00mafein5 

TAUGHT ONLY BY THE 

American College of Bressmafelng 
jSlansas Citp, JHo. 

Miss Pearl Merwin, Supervisor. 

Lesson No. 25. 

ORIGIN OF MATERIAL. 

There are two sources nature has supplied for the mak- 
ing of material, one is animal and the other vegetable. 
Animals yield silk and wool while plants produce linen and 
cotton. 

SILK. 

Silk is obtained from the cocoon which is made by a 
certain specie of the moth. These moths or silkworms are 
cultivated in the warmer climates of southern Europe, also 
in China, Japan, Turkey and India. Different values of 
silk are made from the different qualities of the raw ma- 
terial. Moths which have proper care and food make bet- 
ter silk than those diseased or improperly cared for. For 
more than a century efforts were made to place the rear- 
ing of silkworms for the production of cocoons upon a pay- 
ing basis in this country; but it has been found quite im- 
possible to compete with the cheap labor of the Orient and 
southern Europe. However, the silk manufactured in 
America is of very superior quality, and among these fab- 
rics of which American people can be justly proud are 
those made by Rogers & Thompson, better known as the 

Page Three 



R. & G. silk, Cheney Bros., Valentine & Bentley, and Migel, 
the maker of Butterfly foulards. 

The process of spinning varies the quality of the ma- 
terial, as the more it is spun the finer it becomes. After 
the silk is spun it is woven into cloth. In the process of 
weaving, if both the warp — the lengthwise threads, and 
the woof — the crosswise threads or filler, are the same, the 
silk will be of much better quality than if the filler be of 
short strands, or of silk which has not gone through the 
stage of spinning. Silk spun the second or third time will 
not be as fine as that spun more times. 

There is a new material on the market of only recent 
date that is supposed to be made from a plant instead of 
from the cocoon. It is of heavier quality and is just as 
silky in finish as cocoon silk. The manufacture of such ma- 
terial is so recent that the process of making is a secret. 
However, raw silk is difficult to tell from cocoon silk of 
inferior quality, although the former has a glossy luster 
peculiar to itself and is heavier and firmer than other silk ; 
it also feels different to the touch. 

No doubt when the process of manufacturing this plant- 
silk is perfected like that of the cocoon has been, it will take 
an expert to tell one from the other. In embroidery silk 
the raw material of vegetable silk is superior to the cocoon 
for doing needle work on gowns and for fancy work. 

WOOL. 

Wool is the other kind of animal material and is the 
coating of sheep. Angora goats and the Alpaca. 

Wool goes through a process of spinning which makes 
a variety of values, and like the silkworm, the sheep must 
be properly cared for in order to produce the best quality. 
Sheep produce the finest kind of wool. 

The Alpaca produces wool similar to that of the sheep 
varying in length and is more wiry and stiff. Its wearing 
qualities are superior to that of sheep wool. Material made 
from the Alpaca wool are Mohair, Sicilian, and Alpaca. 

COTTON. 

Cotton as every one knows, is made from the cotton 
plant which is cultivated right here in our own country. 

Page Four 



A poor cotton cannot produce a fine quality of cloth. The 
kinds of material made of cotton are as follows: domestic 
staples as sheeting, muslin, lawn, batiste, basket weave, 
gingham, calico, voile, madras and pongee. Pongee is mer- 
cerized and wears fine, and is also made in silk. Some 
sheetings and lawns are also made of all linen; there is a 
silk gingham which is only silk in appearance, being cotton 
mercerized. There is a difference between mercerized cot- 
ton and lisle as the latter is a finer quality of cotton and 
is twisted hard. 

The combination of cotton and wool is a very common 
one and when the wool is twisted and made into hard smooth 
surface material as in tweed it is difficult for an inexper- 
ienced person to tell whether it is all wool or not. So many 
times there will be only three-fourths or seven-eighths wool 
and if the cotton be of superior quality and the wool of in- 
ferior quality it is next to impossible to tell the difference. 

Sometimes there is one-half or less wool with the re- 
mainder cotton and I have seen more than one think it was 
a bargain, especially when made in tweeds, English mix- 
tures and mannish suitings. The threads of these materials 
are twisted so hard that cotton and wool may be used 
making it difficult to tell one from the other and cotton 
can be very easily substituted for wool. Of course, in such 
instances the cotton will wear just as well and many times 
better than all wool but it never holds its shape or pressing 
so well. Any little moisture as damp weather will make 
it pucker or draw up, which wool does not do, therefore it 
is unwise to use part cotton material in tailored suits. 

Beware of Kerseys for they are of the same finish as 
broadcloths and have more weight. Many poor inexper- 
ienced people think they are getting a bargain in broad- 
cloth when they buy Kersey, for Kersey has the appearance 
of wearing well and is of firm texture ; but if made of cotton 
or inferior wool it does not wear for it virtually tears apart, 
unless of course, one gets a good value then it is like broad- 
cloth and nothing wears better, but it is a material which 
is very often made of inferior quality. 

Broadcloth of good quality is fine in texture and has a 
beautiful sheen, as well as being soft and pliable. The in- 

Page Five 



ferior quality is made of either inferior wool or part cot- 
ton. When broadcloth has cotton in it, it can generally be 
detected from the wrong side and is a harsh piece of ma- 
terial. After it has been worn a little it wears threadbare 
and loses its color as cotton never takes the dye as wool does. 

Broadcloth, Venetian cloth, prunilla, in fact any cloth 
which has a nap and sheen must be sponged before making. 
Nap is the pile of cloth which after woven is pressed down, 
making the sheen or luster, and any moisture, as rain or 
water, will raise the nap making a spot or rough place. 
The process of sponging raises the nap on its entire surface 
making it proof against spotting and practical as well as 
more artistic. 

Cheviot and Serge are generally all wool but are of 
different quality; when of good value they are soft, pliable 
and firm ; when not they are harsh and hard. Serge is made 
with a soft finish or a hard one, not affecting the value, 
though when of inferior quality it is harsh, stiff and wiry. 

Diagonals and Homespuns are a splendid wearing ma- 
terial and are usually all wool. Basket weave is made both 
of cotton and of wool but the wool is so far superior to the 
cotton there is no danger of confusing one for the other. 

A good test for telling whether cotton or wool is used 
in made up garments, is to find a raw seam and pull out 
two threads which do not seem quite the same. Take one 
thread and pull it apart at the end; if cotton it will break 
off, while wool pulls out or pulls apart. Another test is to 
burn the thread with a taper or match ; cotton lights quickly 
and burns in a flame, the length of the thread; while wool 
lights readily but curls up at the end and goes out making 
an odor of burning hair. As you become accustomed to the 
handling of cloth you will be able to tell different materials 
by the way they feel. 

Lisle is a hard twisted cotton thread of superior qual- 
ity, mercerized. It is used alone and with other materials 
as cotton, wool and silk; in the latter the silk is generally 
lisle and being of a silky lustre it is often taken for silk; 
it wears well and holds color better than ordinary cotton; 
it is more expensive than cotton and is well worth the dif- 
ference in price. 

Page Six 



There is still another combination of material, cotton 
and linen, and silk and linen, though in the latter the silk 
is usually lisle, for silk and linen cannot be combined, as 
silk cuts the linen. Therefore the cotton is mercerized giv- 
ing a silky appearance and is used in the place of silk. 

LINEN. 

Linen is made from flax ; and flax like cotton is a plant. 
Linen is spun giving different grades and values. It has a 
different finish when made up than other material for linen 
is invariably rough. In almost all cloth except damask and 
linen lawn it has little knots or rough places. 

One can tell linen from cotton as the former takes a 
high finish or polish which the latter does not. In crash 
and other linens the warp and woof are generally the same 
threads making a square looking weave. 

The manufacturers have succeeded in twisting cotton 
and by using the same size thread for warp and woof and 
mercerizing it, make a material that has the same appear- 
ance as linen. Batiste is a good example. But linen can- 
not be spun as smooth and evenly as cotton, so that linen 
cloth has an uneven or rough look. One material which 
lends itself equally well to either cotton or linen is linen 
lawn. It is next to impossible to tell whether it is cotton 
or linen unless one uses the test. 

A good test for telling the difference between cotton 
and linen is to apply moisture to the material. If cotton, 
it is slowly absorbed; if half cotton and linen, it is more 
quickly taken and if linen it becomes wet instantly, as 
nothing absorbs moisture like linen. That is the test for 
damask too. You know damask is simply a difference in 
weave and is made of either cotton or linen. The natural 
color of linen is tan or a light yellowish brown and must be 
bleached to become pure white. It takes color well and 
now can be had in most any shade. Sheer linen is more 
serviceable than sheet cotton. 

PATTERN OF MATERIAL. 
The origin of material has been discussed so let us see 
how and when the patterns or designs were first used in 
cloth. 

Page Seven 



At the beginning of the middle ages, about the thir- 
teenth century, armorial bearing were stamped upon the 
ladies' gowns like their husbands' shields, symetrically ar- 
ranged. 

These robes were emblazoned through their entire 
length with the arms of their husbands or their families, 
displaying like living standards, every invention of the 
heraldic art, portraying all the beasts of its menagerie, as 
lions, leopards, giraffes, wolves, stags, swans, crows, sirens, 
dragons, fish, unicorns, etc., all of them of fantastic as- 
pects, while the non-heraldic robes were strewn with great 
curving flowers, or highly decorative designs, very rich and 
brilliant. 

That is the very first we know of patterns in material 
and of course it has been improved upon until to-day we 
have very beautiful geometrical designs as well as conven- 
tionalized flowers. At present there is a tendency to revive 
the portrayal of animals and birds on cloths especially for 
children's clothes. Some of the newest novelties in child- 
ren's aprons and dresses are designed with squirrels, rab- 
bits, birds and various other animals that children are ac- 
quainted with. The chanticler has been a motive of design 
quite extensively used for grown-ups. 

RELATIVE VALUE OF SMOOTH AND ROUGH 
MATERIAL. 

In selecting materials for suits and wraps. Fashion dic- 
tates what materials will be worn, but one must use her 
own judgment for individual selections, but in a general way 
smooth finished materials are a standard. 

Cloth of either wool or cotton with a smooth surface 
will give better wear and be of more value than the rough ; 
for instance, a smooth surface cloth is always in good taste, 
whether Fashion says smooth or rough texture ; while rough 
finished cloth is confined to its own particular time. 

When coarse rough cloth is the rage a nice broadcloth 
is always in good taste, but, when smooth textures reign all 
rough cloth looks decidedly passe. 

Even in the homes heavy crash is used for pillows, 

Page Eight 



draperies, table runners, couch covers, etc., but when rich 
materials gain supremacy all such things must go. We 
have been using coarse crash for suits and coats which are 
serviceable and stylish, but which will be tabooed when 
Dame Fashion decides on only rich material. 

Never before has there been so much freedom of in- 
dividuality as at present, for so long as one keepS the proper 
application of material and purpose, one can employ any 
means of expression. One may wear a coarse heavy crash 
for suits for all out-door sports or a smooth fine cloth for 
the same. But do not make the mistake of wearing an out- 
ing suit for matinees or receptions. 

MATERIAL FOR SPECIFIC PURPOSES. 

One would hardly attempt gingham in a trousseau suit 
or cheviot or basket weave in an evening gown, so let us 
consider the appropriateness of material. 

Do not try to make a tailored suit of cheap material, 
first, because a tailored suit is the most difficult style of gar- 
ment made, therefore making it an expensive article ; second, 
if inexpensive material is used the contrast between the 
style and cloth is too great to be in harmony or to be suit- 
able and then, too, cheap material will not make up or hold 
the pressing as well. 

I have known people who considered purchasing a 
tailored suit of cloth which was nothing but flanelette, but 
it being of a good unusual design and having a wooly nap 
they supposed the cloth was better than it really was. On 
the other hand there are those who have attempted coats and 
suits of Danish cloth, which is a mixture of fine wool and 
cotton. It is a very pretty material for little girls' dresses 
and outing dresses for the mountains and the sea shore but 
nothing else, and are prettiest made in Peter Thompson 
or Sailor style. 

Danish cloth must be confined to plain styles, for trim- 
ming and stitching ruin the simplicity of the cloth which 
is very unpretentious in itself. Heavy wiry cloth will not 
lend itself to graceful folds and must not be shirred and 
draped. 

Page Nine 



House dresses for work or morning wear are best lim- 
ited to wash materials, which have some body to them as 
gingham, calico, madras or cotton voile. 

Afternoon dresses for the house are not so limited and 
one may have either washable material or cloth that allows 
of trimming with laces or embroideries; challis is beautiful, 
first, because it cleans well and second, because it can be 
made simple or fussy with lace and ribbon. Cotton voiles 
are beautiful for afternoon wear but they are of lighter 
weight than that suited to morning dresses. Cashmeres, 
lawns, and light weight flannels are also good for afternoon 
dresses. 

For evenings one may indulge in as sheer material as 
one may wish, for manufacturers have an almost unlimited 
supply of textures and colors.* Some of them are silk or cot- 
ton net, silk or cotton voiles, silk or cotton marquisettes, 
crepe de Chine, foulards and many other soft materials for 
simple affairs. For more formal functions brocade in either 
silk or velvet, messaline, satin and a great variety of silk, 
chiffon and chiffon cloth. 

It is just as essential to have an evening gown approp- 
riate for that function as for anything else. If for a simple 
affair, the little gowns of cotton voile, marquisette, etc. 
daintily made and hand embroidered are far more suitable 
than one of brocade. 

Brocades, cloths of gold or silver, jeweled nets and all 
of the rich gorgeous materials are only for full dress or 
formal occasions, unless a little is used for trimming. One 
must use judgment, in order to make wise selections for 
there is simply no rule to go by. That seems very indefinite 
when one trys to learn how to be appropriately dressed, but 
one had better be simply gowned than over-dressed. 

For the spring and fall, business suits are made of 
serge, homespun, light weight cheviot and broadcloth. 

Summer business suits are made of rajah or any of the. 
raw silks, linen or crash, but keep them simple, as they may 
be relieved by a bow, tie, jabot or gloves. 

When the new spring goods are on display one is 
Page Ten 



tempted with ginghams but use discretion ; do not for a mo- 
ment think they will be serviceable for business as they 
crush, soil and look very untidy on the return trip from 
town, in the evening. For morning shopping tours they 
are not so bad. 

Light weight woolen material is best "or all summer 
for business, unless it is too warm, then ma.iy use the skirt 
with thin or tailored waists. Net waists are pretty in Per- 
sian effects and if not made too dressy they help to com- 
plete the color scheme. There is nothing like light weight 
woolens for the mountains and seashore. For travel or 
country wear never select a long nap or rough cloth, for 
both catch and hold dust or cinders. 

Linen or linen crash is fine for hard business wear but 
get a soft texture or it will crush and wrinkle. Sheer or 
coarse linen for waists and dresses can be elaborately trim- 
med and will make beautiful afternoon suits or gowns; but 
they are strictly for summer creations and the heavier 
linens have a reputation for being warm. 

MATERIAL ADAPTED TO FIGURES. 

For an illustration of the importance of material being 
suitable for figures, can you imagine a short, slight delicate 
figure draped in a velvet brocade or a brocade on gold cloth? 
Can you conceive a large proportioned woman gowned in 
chiffon or diaphanous material? 

There is another point to be considered, a person who 
has a stylish or fashionable figure can wear a greater variety 
of material and design, than one who does not, so let us dis- 
cuss the things that can be worn appropriately. 

Large proportioned or tall women who are stylish are 
the only ones who can indulge in the beautiful brocade ma- 
terials of the moment. Reason, first because the material 
is so rich and heavy in appearance that only a stately dig- 
nified figure can carry them. Second, the pattern or design 
is generally so large that unless the figure be large the de- 
sign is spoiled by being cut into small pieces, and also a 
large patterned material on a small person looks like a few 
big spots. 

Page Eleven 



Brocades are suitable only for dress occasions where 
dignity and elegance reign supreme. Plain or striped 
broadcloth is an excellent cloth for this type of figure, but 
the color is very important. 

Chiffon, tulle and all of the gauze-like materials unless 
combined with heavier cloth are not suitable for large 
women. To use chiffons alone is poor taste for the ma- 
terial will float about in the air giving an undefined outline 
to the figure, thereby apparently increasing the size; then 
too, such cloth is best suited to youth and frivolity, and 
what large woman is suggestive of a fairy? Such material 
makes her look ridiculous. There are other soft materials 
that will give much better results. 

Cloth, like lines and colors, must be selected in refer- 
ence to size and temparament. Velvets, gold or silver cloth, 
in fact any of the elegant textures are only suitable for 
large women for their rich elegance requires dignity to 
show them off to their best advantage. A little airy, fairy 
sort of woman would look absurd in cloth of this nature as 
the weight of the material would appear too heavy for the 
weight of the figure. 

Smooth finished cloth or mixtures not very rough are 
good for large women; roughness adds size. Storm 
serge is good, as it is too heavy for small figures. Satin of 
either light, soft or rich heavy texture is a very good choice. 
Heavy satin is too stiff and dignified to be becoming to 
slight women. 

Material and style are closely connected for when tai- 
lored material is more becoming than the filmy textures 
then a tailored suit or dress is more becoming than a fancy 
draped one. 

Let us consider a combination of materials and see who 
can wear them. Large proportioned and tall women can 
wear a combination of two or more materials as well as 

Page Twelve 



color. Why? Because two or more kinds of either cloth 
or color tend to decrease the general size or outline, pro- 
viding the lines made are in harmony with the lines of the 
figure. 

All soft textures of silk, crepe de Chine, satin or velvet 
or material with short nap are particularly suited to small 
women. For the slender type they drape beautifully and 
for the broad short figure they hang in long soft folds. 

MEDIUM FIGURES. 

A medium-sized, stylish woman, who studies her lines 
carefully so as to not accentuate what poor lines she may 
have (and we all have them) can wear anything. 

She can wear what the large and small woman can, as 
well as a combination of both. But be careful that you do 
not lose yourself in such a large, unlimited field ; very often 
it is easier to select things when one is more limited be- 
cause then it is a choice between two or three things. So 
we must all study, regardless of our type, for there are so 
many things to be considered, and plans cannot be made 
without study. 

ORIGIN OF FASHIONS. 
Evolution of the Corset. 

As the origin of fashion really begins with the corset 
we must study the evolution of them, for it is the evolution 
of the latter which relates in a brief manner how the people 
had emerged from a state of barbarism to one of civiliza- 
tion. As far back as ancient history the art of dress was 
goverened by certain general laws. In the eighth, ninth 
and tenth centuries women really did not dress. They were 
hardworking slaves and only clothed themselves in loose 
flowing robes ; but even then they began to bandage, for we 

Page Thirteen 



read how they wore cloth around the bosom, with a simple 
band below. 

Then as they emerged from a state of barbarism the 
women were allowed more freedom, which resulted in their 
beginning to decorate themselves or dress. It was then 
about the eleventh 
century that the first 
corset was made. It 
consisted of a piece of 
animal hide one-fourth 
of an inch in thick- 
ness and had holes 
punctured in it by 
means of sharpened 
stone. (See Fig. 480). 
This device was a tor- 
turous thing, but im- 
provements were 
gradually made until 
they invented a cane 
corset. This corset 
was made of rattan 
cane, arranged spiral- 
ly about the figure, 
and being actually 
covered with cloth lent 
itself more readily to 
the natural and graceful curves of the form. 

Until Catherine de Medici's ascension to the throne, 
the wearing of the corset had been personal taste, but she 
issued an edict that all women of good birth and breeding 
should wear corsets, which would reduce their waists to the 
abnormal size of thirteen inches. She not only made tha 
decree but invented the necessary article; her corset was 
made of a solid piece of steel and fastened in the back so 
that after one was in it there was no possible means of 
getting out without assistance. For a while women suf- 
fered untold agonies, but they must have become accus- 

Page Fourteen 




Fig. 480. 



tomed to it, for they 
wore them for one 
and a half centuries. 
(See Fig. 481). 

Not only were these 
corsets worn, but over 
them clasped a fitted 
corset cover, c o n - 
structed of thin plates 
of steel, which were 
fashioned in two 
pieces and opened on 
a hinge. (See Fig. 
482). 

This lasted to 

the end of the fifteenth 

century. The seven- 
teenth century saw 

the close of Catherine 

de Medici's reign. 

During this time men 

as well as women wore corsets, and vied one with the other 

in compressing 
the waist and 
building out 
below the 
waist. 



The Priests 
and Abbotts 
who had been 
t h u n d ering 
against the 
practice in 
vain, won out 
for a while at 
least, as the 
custom was 
abolished. 




Fig. 481. 




Fig. 482. 



In the seventeenth century an attempt was made to re- 
vive the steel corset but instead one was made of whalebone 

Page Fifteen 




and of a more pliable fabrication of material. (See Fig. 

483) . These were 
quilted and beautiful- 
ly embroidered satin 
bodices, and being 
stiffened with whale- 
bone were best suited 
to the figure. 

It was then, the 
natural curves of the 
body were more stud- 
ied although the gen- 
eral style was not 
much changed, for 
they still retained the 
extremely pointed 
waist. These corsets 
were made short at 
the hips, with a long 
back and front, the 
latter tapering to an 
artistic V. 

The next change was early in the eighteenth century 
when leather stiffened with whalebone came into use, but it 
did not last long for then classic robes became popular and 
a return to the Grecian corset or waist was made. This 
held sway for fifty years, when again the stiff corset was 
revived and the style from which our present mode orig- 
inated. (See Fig. 484). 

In 1820 a practical corset made in three pieces was 
invented and both men and women commenced to study 
the trade. From this time on, great strides in corset mak- 
ing were made, with various models of shapes and sizes. 
It was then that tailors were obliged to partition off little 
compartments and fit the corset before fitting the gown. A 
Frenchman conceived the idea of manufacturing corsets at 
wholesale and started looms; but Germany became the 
largest and most prosperous. In 1870 Americans built and 
started enormous factories with the result that many more 
models were designed and the price went down resulting in 
their present popularity. 

Page Sixteen 



FlK. 483. 



There was no attempt made to abolish this article un- 
til in the latter part of the eighteenth century, when dress 
reform again swept the country, but it did not effect a very 
great many. However, it did effect the corset to the extent 
that a mere girdle stiffened 
with steel and featherbone 
was worn about the waist. 
(See Fig. 485). 

After the manufacture 
of corsets began in our own 
country the stiff materials 
were superseded by very 
soft, pliable cloth and 
featherbone was used in 
place of whalebone and 
steel. The present style 
corset, although extremely 
long, in fact, longer than 
ever known in history is 
made with a narrow steel 
in front, side and back with 
tVe remainder featherbone, 
which makes a decidedly 
pliable corset. (See Fig. 
486). 

Priests, Abbotts and Physicians have always been 
opposed to the wearing of corsets but today the physician 
is with us for he has come to recognize that a well fitting 
corset is rather a support to the figure, instead of having an 
injurious effect which is so frequently attributed to it. 

There are so many different styles of corsets on the 
market today, and the lines of both corset and figure are 
made such a thorough study that a perfect garment is 
within reach of all, consequently we are better dressed than 
ever before in the life of fashion. 

LINGERIE. 

Lingerie, like corsets, have an important part in dress- 
ing. First, the corset envelopes the form, correcting and im- 
proving the natural tendencies or bringing out the perfect 
curves of a figure, while lingerie tends to clothe the figure 

Page Seventeen 




4S4. 



making a foundation for the outer garments. So few people 
fully realize the importance of the under garments that they 
are disappointed in the appearnce of a new gown. 

If you study closely the lesson on fashion you will see 
how essential lingerie is in forming a foundation. For in- 
stance, refer to the time of the 
Farthingale, Panier and Cri- 
noline periods when all skirts 
were voluminous in size; it 
would be absurd to try a 
Directoire gown over them. 





KiK. IS.-,. Kig. 4S6. 

In the present day modes, as in 1904 when the skirts 
were full, they were made with yards and yards of ruffling 
around the bottom to form a support, so to speak, for the 
outer skirt. Then when the Moyen-age was introduced the 
skirts were less full and have been getting smaller ever 
since. At one time as many as four or five of these full 
skirts were worn at once, until now one of scant dimensions, 
and in some instances not that, as the pretty little knicker- 



Paafe Eisfhteen 



bockers of silk or satin have been substituted for petticoats 
to be worn with cloth dresses. With transparent material, 
one skirt or a slip as we call them, is sufficient. 

So before one can begin to design or copj^ another's 
ideas, one must study corsets and underwear, as the latter 
is the making of the foundation. Another example, take 
the present styles; skirts are scant, many measuring not 
more than two yards at the bottom, and when they are made 
larger they are stayed with tape so that they will cling to 
the form, not many petticoats are worn unless it be one 
of soft silk that snuggles in close to the figure. The corset 
is soft and pliable and extremely long, coming almost to 
the knees when the figure is very large. Never before in 
history have corsets been so long as now and with prevail- 
ing modes the underwear must fit perfectly. 

FASHION. 

Fashion is a style or custom generally adopted by the 
people. It is governed by certain general laws, which af- 
fect the lines, the color, the harmonious expression of a 
given whole, increasing or modifying its beauty to the oc- 
casional perversion of our taste and misguiding of our 
aesthetic instincts. 

There is nothing, in fact, so conjures up the people of a 
special period, nothing so closely tallies with their char- 
acter, mental and moral state, as the dominant note of their 
costume, and the van-colored splendor of their adornments. 

That is why fashion is compared to the hands of a 
clock, which continuously revolve within the same circle, 
but instead of being ever constant, as a time piece, it is more 
capricious, for it goes now forward, now backward, with 
sudden jumps, from one side to the other. Hence the old 
adage : "There is nothing new in this world, but that which 
has grown old enough." 

In order to design or to predict the modes of tomorrow 
one must study those of yesterday, so a little history of 
dress will be given in order that you may know what has 
been worn. 

We never go back earlier than the thirteenth century as 
the beginning of dress was really in the middle ages; but 

Page Nineteen 



to prevent the question of "What did women wear before 
that time?" let us begin in the eight century. 

As before stated, women in the eighth, ninth and tenth 
centuries were no better than slaves, and were clothed in 
loose flowing draperies, but in the eleventh century they 
were allowed more freedom consequently their attention was 
turned to decorating themselves. They drew their draperies 
tighter and closer until they took on a semblance of a dress, 
necessitating a contrivance for holding the form in, which 
resulted in the making of the very first corset. The skirt 
was practically drapery, suspended from the bottom of a 
long tight-fitting waist, with only drapery over the arms. 

The ecclesiastical body were so opposed to the use of 
the corset that it was abolished in the twelfth century and 
the Greek and Roman styles again held sway ; this time the 
Grecian waist was worn instead of bandages, so that the 
robes were not quite so tight as they had been; then, too, 
there were sleeves with great wide ends to them. 

The actual birth of French fashions, of costume purely 
French, was at the beginning of the thirteenth century ; be- 
fore, fashion had been groping about, turning from Greek 
to Roman and Byzantium. 

In the latter part of the fourteenth century women be- 
came very frivolous and coquettish, hence dress was made 
quite a good deal of. It was during this time that the 
actual fashion plate existed. It had not adopted "Gazelle" 
shape, (that had been in use for only about one hundred 
years) but it was a fashion journal nevertheless. 

Paris held the scepter over the fashion world in the 
fourteenth century just the same as she does now. This 
time is called the middle ages, and it was then that certain 
ladies of Europe used to present each other with small dolls, 
dressed in the latest fashions by cutters, dressmakers and 
tailors. 

It was during this time that real sleeves were designed, 
the material was cut and sleeves were pinned into place. 
They were long, wide or tight whichever the fancy was; 
some sleeves were cut and then buttoned underneath from 
the shoulder to the wrist ; sleeves were cut out or puffed at 
the elbow, even the sleeves called mittens were worn, the 
end forming a close mitten. 

Page Twenty 



During this period the sleeve was the most important 
part of the dress for it was then all attention was devoted 
to designing or originating new things. One other feature 
worthy of mention was the Stomacher, a wide girdle-like 
arrangement which was heavily embroidered and worn 
about the waist. 

People were not permitted by court to dress beyond 
their means, which had its effect in making dress less for- 
mal and less complicated; the corset or bodice superseded 
the surcoat. It was low cut, not of the same color of the 
garment and was laden with ornaments of gilded designs. 

Sleeves again were of different color than the bodice 
and now we come to the great streaming, wing-like sleeves, 
with cut out edges, and to sleeves made in several pieces 
fastened together with tabs and ribbons; at this time 
sleeves were being made of pufRngs and slashes. 

This brings us to the beginning of the fifteenth century 
when skirts became the main feature. The Farthingale was 
introduced which was a wide skirt supported by a contriv- 
ance of canvas or buckram, ballooned out, and was stiffened 
by a circle of strong wire or bone. 

This style lasted for three hundred years with intervals 
of more or less duration, under different names and sizes. 
The width of the skirts ran a regular course ; they increase 
little by little, slowly accustoming the eye progressively to 
its proportions through the fifteenth, sixteenth and seven- 
teenth centuries, when they reach a formidable excessive 
expansion of six feet in diameter. Then they decreased 
gradually, passing the reverse way through all the former 
stages. 

During the sixteenth century sleeves and skirts vied 
with one another for supremacy. The costumes of women 
were ample and majestic rather than graceful; gowns were 
made! of velvet, satin and flowered brocatelle of various col- 
ors. Sleeves were wide and were raised over the shoulders, 
forming a succession of rolls down to the wrist, with slashes 
showing puffs of light silk. (See Figs. 487 and 488). Then 
the basque, which was a bodice of material stiffened by 
means of whalebone appeared. 

In the latter part of the sixteenth century there was a 
struggle between gloomy and gay fashions, but the former 

Page Twenty-One 




'0&^^ 



won out as times were troublous and actual war raged. 
Skirts were in black stuff with a black pointed bodice; 
sleeves were large and wing-like to the shoulders. 

In the beginning of the seventeenth century fashion 
was allowed to reign after having been suppressed for a 
while and all of the forbidden richness of materials and 
jewels reappeared. 

Gowns were made of transparent material with bunches 
of colored flowers painted or printed on it. They were low- 
necked liberally displaying the shoulders, with pointed 
bodices which were covered with embroidery and with 
short sleeves which ended in ruffles of lace cuffs. 

The outer skirt was fastened by clasps set with bril- 
liants or knots of ribbon and was raised sufficiently to dis- 
play the sumptuous underdress. Capes to cover the shoulders 
were introduced. The Farthingale reappeared under the 
name of the "Panier," this time two English women brought 
specimens to Paris and again it ruled. It was made of cane 
hoops after which whalebone followed. It was at this time 
when it reached such a formidable size as six feet in diam- 
eter. This was known as the Watteu period. (See Figs. 
490 and 491). 

This style lasted for thirty-five years then the fashion 
changed giving place to discreet and sober attire. Next 
came the Revolution which revolutionized the whole world, 
fashion and all. At first the English fashion prevailed, that 
is to say, waistcoats and riding habits were worn. But after 
that simplicity reigned supreme from sheer necessity. That 
is the beginning of inexpensive, cheap materials, for cot- 
ton, Indian prints and lawn were employed. 

Greek and Roman styles were then in favor; straight 
gowns without waists, mere sheaths bound around the 
bosom by a girdle, shortening the front to let the foot be 
seen, and slightly trained at the back. This was the reac- 
tion of the troublous times with much war and privation, 
and is known as the Directoire period. Once again frivolity 
and coquetry are the ruling powers and for a short period 
of about three years ran unchecked. 

The tunic was of transparent lawn, which clung to the 
wearer's body with each movement. When diaphanous ma- 
Page Twenty-Three 




Fie. 491. 
Ttfo Panier go^vns, revivals of the Farthingale, vrorn dnringr the seven- 
teenth century. 



Page Twenty-Four 




terials were not used, the tunic was slit down the side from 
the hips. The Athenian gown showed the legs clad in flesh 
colored tights with golden circles for garters. The flutter- 
ing gown allowed the legs to be seen. Even when not slit 
open, the sides were raised about the knees and fastened 
with a cameo brooch boldly displaying the left leg. 

The sleeves were very small, a mere strap or even no 
sleeves at all; the edges of the gown were drawn together 
by cameos on the shoulders, and the arms were laden with 
bracelets. This period was of short duration and was fol- 
lowed by the Restoration of the Empire epoch. 

A revival of the old Empire took 
place about 1800 and lasted until 
about 1825. Figs 492 and 493 illus- 
trate the gowns worn at that time; 
their main feature was the extremely 
high waistline which came just under 
the arm pit; the skirts were full but 
not stiffened. The general outline of 
women at this time was cone-shape. 
Sleeves were tight-fitting. 

It was in 1820 that the English 
style of riding habit and walking 
suits were introduced and the first 
tailored garment was worn by wom- 
en. In 1825 the sleeve became the 
important article again; it was then 
that the leg o' mutton sleeve was 
' newly "out." Fashion then reverted 
back to the sixteenth century, with 
of course a few changes. It was then 
that the sleeves were so very large, 
and collarettes were worn. In this 
year style commanded short, full 
skirts, long sloping shoulders and 
immense sleeves. 
These short skirts had a brief triumph, which originated 
at the fashionable sea-bathing places. Skirts gradually be- 
came fuller in 1830 until they were finally stiffened with 
crinoline. They were caught up and adorned with a great 
variety of ornamental trimmings, all large and effective. 

Page Twenty- Five 



Fis, 402. 



The bodice was pointed similar to that of the sixteenth 
and seventeenth centuries and the skirts were lengthened 
only to be shortened again. This lasted with slight varia- 
tion until 1860. Skirts then again became smaller, but were 
draped in great mounds at the back ; they gradually became 
longer until in 1880 when they had trains which were yards 
and yards long. 

In 1870 the waists were fitted 
tight but were very short, then 
they began to lengthen the same 
as the skirts did and in 1880 they 
had a semblance of the old thir- 
teenth century mode. The drap- 
ery at the back became less and 
less and lower, merging into the 
train. (See Fig. 494). 

In 1889 the skirts had lost their 
trains, they were somewhat fuller 
and were held out with many pet- 
ticoats; sleeves were long and 
tight. 

In 1896 to 1899 the corset was 
changed, being a mere girdle; the 
skirts were close-fitting over the 
hips and an attempt at the old 
crinoline of 1850 was made. These 
new skirts were lined with fiber 
chambray which held them out, 
only they were not so immense as 
they had been. The waist was a 
pointed bodice which fitted close 
and was worn on the outside of the 
skirt, similar to that of the seven- 
teenth century, while the sleeves 
were leg o' mutton filled with stiffening, giving a square 
shoulder effect. 

For several years new devices for making the waist 
appear long and pointed were used and various styles such 
as plaits, bretelles, and mandoline sleeves were employed 
to give the broad, square shoulder effect. 

In 1901 and 1902 the stiffening had disappeared from 

Page Twenty- Six 




Pig. 493. 



the skirts, although they were still full ; the corset was made 
longer and higher, and as a consequence the skirts were fit- 
ted closely over the hips. (See Fig. 495). 

We now have the corset cover and petticoat, made in 
one to avoid fullness at the hips, with all extra thickness 
avoided. However, the skirts were full at the bottom, giv- 
ing a very graceful bell-shape curve. They were cut wi^h 
many gores and were flared and had ruffles or flounces on 
the bottom. 

The long pointed front lasted for sev- 
eral years, when it suddenly jumped to 
the Empire as we saw it in 1906. The 
skirts remained about the same, but a 
little short jacket known as the Eton or 
when slightly shorter, as the Bolero ap- 
peared. This little jacket became the 
leading feature and for several seasons we 
were occupied in reducing the fullness 
and shortening the length until we had a 
little close-fitting garment which had lost 
all semblance to a separate coat and 
became a part of the dress or gown. 
We kept working with the Japanese 
sleeves and coats from season to sea- 
son, reshaping and fitting until we 
had a very pretty coat with waist and 
sleeve cut in one without a shoulder 
seam. 

Then all attention 
was directed to the 
skirt and in order to 
place the coat to the 
best advantage we cut 
the waist and skirt in 
one piece without a 
We eliminated all fullness from 
the waist, reduced that in the skirt, and called it a princess. 
This was the beginning of a great study of lines in the 
figures, and was a style that led to the present modes. 

Fashion then jumped in 1908 to the Directoire days 
of 1797 and 1799 and quite a little sensation was aroused 

Page Twenty- Seven 




Fie. 494. 

break at the waistline 



by the skirt being slit up the side. However, only the ex- 
tremists wore it, although more modest women adopted the 
style with some improvement until we had the opening 
filled with material of either different texture or color, 
many times plaiting or ruffling being set it. 

The high waistline and sash were strong features, to- 
gether with the waist with the vest front, broad revers, 
long fluffy jabots and the high standing collar across the 
back of the neck. 

In 1909 the Empire was 
again in the lead. After that, 
the styles of the thirteenth 
century were revived. It had 
been several centuries since 
styles had reverted so far 
back, but the modes of that 
time were modernized mak- 
ing a pretty but difficult style. 
(See Fig. 496). 

You will see from the figure 
that the waistline was long, 
coming below the hips where 
it was finished with a sash 
and the bottom was either 
plaited or gathered on. The 
waist although being cut on 
long lines did not fit as close- 
ly as the old style; but we 
began gradually curving and 
fitting it close, until we had it 
almost tight. This style ne- 
cessitated the corset being 
made longer with straight 
sides, which would reduce the 
curve of the hip, until we have 
a figure that is almost 
straight. This was taken 
from the Moyen-age period, meaning middle ages. The 
waistline was left long, fullness remained in the skirt, but 
the sash or band which finished the joining of the two was 
gradually lowered until it was at the bottom of the skirt. 

Page Twenty-Eight 




Fig. 495. 



Then it was termed the hobble. The waistline did not stay 
long, but was used in different lengths, the length of the 
waist becoming secondary and the skirt or the hobble being 
the main feature. 

Then the fullness of the skirt was gradually disposed 
of, the band was left off, the entire skirt at bottom being 
no larger than the band had been in the hobble. By this 
time we had evolved the Tube, which was the rage during 
the winter of 1910. 

SUMMARY OF STYLES. 

1820 — Tailor-mades were a new 
thing, therefore they led. 

1830 — The sleeve was the main 
feature of the gowns. 

1856 — The skirts were all the 
rage and were so large that noth- 
ing else could be thought of. Large 
hoops were much worn. 

1870 — The bustle and hip pads 
were foremost. 

1880 — Skirts again, but this 
time more particularly the length, 
which was a train. 

1890 — Sleeves were again the 
rage. 

1900 — The waistline and should- 
ers. All attention was turned to 
increasing the length of the waist 
in front making a dip and to broad- 
ening the shoulders. 

1911 — Almost any style may be 
worn, providing it clings close to 
the form. 

Everything is built on long 
straight lines, skirts are narrow, 
measuring not more than two 
yards in width. Trotteur skirts 
continue to be short, in fact a 
short skirt is all the craze, although 
the trailing skirt is always re- 
quired by some women. 

Page Twenty-Nine 




Pig. 496. 



The Empire is the favorite with us of the nineteenth 
and twentieth centuries; having returned to that oftener 
than any other period. Before that the Farthingale, Panier 
and Crinoline held sway for centuries. 

A prediction of the return to the graceful, flowing skirts 
of the Louis XV period is made and doubtless we will, for 
the skirts have been just as tight as they can be worn. 
When the skirts and sleeves have become so tight and short 
that they cannot be any closer, then the inevitable process 
of widening begins once more, and we have a regular course 
of increasing until the excessive expansion is reached. 

So by studying the modes of yesterday it is tolerably 
safe to predict those of tomorrow. 

However, a few changes intervene as every passing 
event influences the fashion of women. In ancient times it 
was the winning of a great victory or the ascension of a new 
King to the throne ; but as we develop, having less war, the 
painting of a picture or a particular style adopted by a 
young artist influences style. For instance, the Gibson 
pictures of girls who had broad shoulders, created a great 
deal of interest and fashion took up the same style, and 
Gibson Girls were seen everywhere. It was the ambition of 
every woman to look like a Gibson picture. 

A new invention might transform, as indeed it has al- 
ready done, to a certain extent, when the bicycle was the 
recreation of so many, made the skirt into trousers or 
bloomers. 

The spell of Paris has been over us for centuries and 
for a good reason, for they are designers of gowns who are 
artists in their way, who have made a life study of the fine 
art of dressing women. But they design only for the Paris- 
ian and his mode of living. 

The American has been slow in realizing this fact, but 
when the need of suitable dress is felt we begin thinking 
for ourselves. The shirtwaist, walking skirt, tailored suit 
with gloves and shoes in keeping, the cycling suit, are the 
products of American designers which are suflficient to 
prove that they are capable of designing their own clothes. 

It is a historic fact that whenever styles change, the 
Empire fills the intervening period. So whenever the Em- 
Page Thirty 



pire is prevalent, be prepared for a decided change in 
fashion. 

On the following pages are three styles worn just 
exactly one hundred years ago with three companion styles 
worn at the present time. The fourth couplet shows a style 
worn fifty years ago and one worn now. 

The first couplet illustrates the empire. Note the sim- 
ilarity of the two. About the only difference is in the waist 
and puff sleeves, the older one being plain, while the new 
has a little fullness. Observe the second couplet — the cape 
with its hood. The older one has rounding edges, while the 
newer one has corners. In many cases the modern opera 
cape is made nearly an exact copy of the former style — 
open in front, with rounding edges and trimmed in lace. 
Note the long handle parasols in each instance. 

The third couplet illustrates the scarf or drapery worn 
one hundred years ago and today. Thus it will be seen that 
the long lines of present day styles are copied from those 
of a century ago. In the fourth couplet it appears that 
the designer surely had this fifty-year-old gown before him 
when designing the accompanying gown. The lace and 
flowers are very similar. The overskirt is draped a little 
higher and fuller in the older style. The flowers are bunched 
together in the old, whereas in the new they are made to 
follow the outlines of the overskirt. In this particular de- 
sign you have practically a duplicate of the older style ; the 
only difference of much consequence being the omission of 
the bustle, which has long since been discarded. 

Take for another instance the 1910 auto cap or bonnet 
for the feminine sex. When it first made its appearance 
the motor girl was quite sure she was attired in the very 
latest fashion when donning one of these, but she was only 
wearing an adaptation of the calash worn so jauntily by 
her great grandmother in 1776. 



Page Thirty-One 




Fig. 497. 




Page Thirty-Two 



Fig. 408. 




Pig. 499. 




Fig. 500. 

Page Thirty-Three 




Fig. 501. 




Fig. 502. 



Page Thirty-Four 




Figr. SOS. 



Af ■ 





Fig. 504. 

Page Thirty-Five 



QUESTIONS. 

1. What are the two sources which nature has sup- 
plied for the making oi materials? 

2. (a) How is silk obtained? (b) Wool? 

3. (a) From what is cotton obtained? (b) Name 
some of the most familiar cotton materials. 

4. (a) What is the best way to test materials to as- 
certam whether they are cotton or wool? (b) What is lisle? 

5. (a) How is linen produced? (b) What is the 
best way of testing it to see if it is all linen or part cotton? 

6. When were patterns or designs first used on ma- 
terials and of what were they composed? 

7. What is meant by "relative value of smooth and 
rough materials?" 

8. (a) What is meant by "material for specific pur- 
poses?" (b) Give a few examples. 

9. Explain the meaning of "material adapted to 
figures." 

10. (a) What was the first corset like? (b) Of 
what was the corset and its cover made during Catherine 
de Medici's reign? (c) Of what is the present day corset 
made? 

11. In what way does lingerie play an important part 
in dressmaking? 

12. (a) What were the Farthingale gowns like ? (b) 
The Panier gowns? 

13. What was the main feature of the Empire gown 
worn from 1800 to 1825? 

14. (a) What was the Directoire gown like? (b) 
The Moy en-age gown? 

15. When the Empire is prevalent what may safely 
be predicted? 

Page Thirty-Six 



ADDITIONAL STUDIES 

IN THE 

AMERICAN SYSTEM 

OF DRESSMAKING 



A Course of 

Instruction by Mail 

in the 

Science and Art 

of 

Successful 

Dressmaking 

And Ladies' Tailoring 



LESSON NO. 26 



The American College of Dressmaking 

(Associated Training Schools, Proprietors) 

KANSAS CITY, MO., U. S. A. 



ADDITIONAL STUDIES 
IN THE 

American System of Dressmaking 



The following pages contain the additional mat- 
ter — and much more — indicated in the school's catalog 
and occasionally referred to in the lessons themselves. 

These studies are given for the student's personal 
use in working out her own sewing problems and in 
applying the knowledge she has acquired in the study 
of the lessons proper. They are not given as a part of 
the regular course nor with a view to the student re- 
porting on them, and for that reason no questions are 
asked on them, nor does the school engage to grade any 
work submitted on them. 

The regular lessons — the first twenty-five — are 
bound up in this form for the student's convenience as 
a ready reference and to preserve them, as in the case 
of the average student her lesson papers are usually 
worn out by the time she finishes the course. 



American College of Dressmaking 

Kansas City, Mo., March 1, 1912. 



Clje Slmerican ^gstem 
of Bressmafetng 

TAUGHT ONLY BY THE 

American College of Dressmaking 

Kansas Gity» Mo. 

MISS PEARL MERWIN, Supervisor. 

LESSON NO. 26 

EMBROIDERY STITCHES. 

The following is a continuation of the stitches 
most commonly used in dress decoration given in 
Lesson 20: 

The Honeycomb Stitch is excellent in spaces en- 
closed by outline stitch. It is commenced by putting 
in a row of buttonhole stitches. The closer the stitches 
are taken together, of course, the smaller the interven- 
ing spaces will be. Make the stitches say one-quarter 
of an inch apart and rather loose but even. Place the 
stitches of second row midway between those in row 
above, putting the needle over the 
base of stitches and drawing them 
down before inserting needle in the 
material. Succeeding rows evenly 
done in this way will produce 
'Fig. 505 markings in the shape of a honey- 

comb. (See Fig. 505). 

Oftentimes a mesh stitch much used in lace work 
is also used in embroidery. It resembles somewhat the 
honeycomb stitch, but is worked entirely on top, none 
of the stitches being taken through the material. On 

> Page Three 




the other hand, it is taken simply through the back of 
the buttonhole or mesh stitch in the preceding row. 
As a rule the spaces to be filled are irregular, there- 
tore, increase or decrease the stitches in each row as 
needed until the spaces, with the exception of those at 
the beginning and end of each row, are kept even as 
upon this will depend the beauty of the work. When 
the mesh stitch is employed and one wishes the ma- 
terial cut out underneath it will be necessary that the 
edges of the material be buttonholed next to the space 
to be filled in by the mesh stitch so that the edges will 
not fray when the material is cut away. 

Triangular Buttonholing is also desirable for fill- 
ing in spaces. If the space tapers, the stitches should 

be decreased. Stitches are 

added to each row as the 

W^W^ \. \ ^-^ width increases. The stitches 

are put in so that each suc- 
ceeding one is either shorter 
Fig. 506 Qj. longer than its predeces- 

sor, the purled end of the stitches forming a zig-zag 
row in the center of the space. (See Fig. 506) . 

Lattice-Stitch is another name for Cat-Stitch. It 
is close or open and is used for filling in flower petals 
and leaves and conventional figures. If it is worked 
on the wrong side it is known as Shadow-Stitch, also 
Turkish-Stitch. 

It is one of the simplest stitches in the whole range 
of needlework decoration and yet by its use some of 
the most effective designs are executed with great 
rapidity. 

Since Shadow-Stitch derives its name from the 
fact that it is seen through and not upon its founda- 
tion, of course, to obtain good results only the sheer- 
Page Four 




est of materials should be used. Any fabric that is 
translucent enough to allow the cotton or silk to show 
tnrough is suitable, such as organdy, swiss, fine lawn, 
handkerchief linen, batiste, mull, etc. 

It is employed on waists, skirt panels, belts, col- 
lars, cuffs, etc. The work is usually done with a soft 
mercerized cotton or floss, but filo may be used for color 
effects, two threads being used in the needle as one. 

The mercerized stranded cotton that closely re- 
sembles silk is soft and easy to use and washes beauti- 
fully. It comes in white and a large number of colors. 
The brand called the D. M. C. comes in one size only 
but since it consists of six strands any number of 
strands may be used to suit the style of embroidery and 
the material upon which it is worked. 

Whether silks or cottons are employed in color 
work, it pays to use only the best qualities and even 
tnen the embroidered pieces must be handled carefully 
in laundering. We are aware that the best colorod 
fabrics fade somewhat with frequent laundering^. To 
obtain the best results, make a warm suds of some 
pure white soap and cleanse the article by dipping up 
and down in it and squeezing. Rinse in clear water 
until no sign of soap is seen in the water and squeeze 
as dry as possible, but do not wring. To assist in the 
drying place the article in a towel and beat with the 
hand or shake until nearly dry. Then piace face down 
on a padded board and iron with a moderately hot 
iron, first putting a smooth cloth over the piece. Re- 
move the cloth and press, still on the wrong side, until 
entirely dry. 

In selecting the color it is wise to lay the goods 
over the various shades until one that shows through 
satisfactorily and clearly is found. Some colors are 

Page Five 



not at all pleasing used in this way. Lavenders and 
greens, for example, require judicious selection. Pink 
is especially adapted for this work. Blue, yellow, and 
ecru are also excellent. The colors used should always 
harmonize with the balance of one's costume. 

Ordinary white material worked in white is given 
first choice and is considered more elegant especially 
for a matron, but there are those who will find the 
touch of color more to her liking. To wear the" gown 
over a colored slip gives a charming effect. 

The design should be one of scrolls, narrow leaves 
and such flowers as the clematis, daisy, chrysanthe- 
mum and others in which the petals stand out separ- 
ately. Petals that cross each other or turn over and 
sprays that overlap other parts of the design, cannot 
be considered in this variety of embroidery. Bear this 
in mind when selecting a pattern. When flowers show 
large seed centers, as is the case with the daisy, French 
knots or the small open eyelet are used. These may also 
be used throughout the design with good effect as 
well as dots worked in satin-stitch. The plain shadow- 
stitch may also be varied by the addition of French 
knots or seed stitches through the center of the leaves 
on the right side of the fabric. 

The stamping is, of course, done on the w^ong 
side of the fabric, as the side on which the work is 
done becomes the wrong side when the work is fin- 
ished. The tracing or transferring should be done with 
care so that the lines may not be blurred, for if they are 
the thread will not cover the outlines. The veins and 
stems should be especially distinct as these lines must 
show through on the right side for outlining purposes, 
if the outlining is to be done on that side. Many work- 
ers prefer to have the pattern stamped on paper or 
Page Six 



cambric, then pin the fabric over it and trace the pat- 
tern on the fabric with a hard pencil with a dull point. 
While a soft pencil is easier to use it is both liable to 
make a blurred outline after it is on a while and be- 
come rubbed and soil the material. Another way is to 
baste the material to the stamped cambric and work, 
being careful that the needle does not catch into the 
cambric. 

In beginning fasten the thread at the exact point 
of the leaf or petal on the wrong side and take a for- 
ward stitch about a sixteenth of an inch long through 
to the right side of the fabric and on the left side of 
the leaf, which brings the needle again to the tip and 
then a similar stitch should be taken on the right-hand 
side of the leaf. Continue working in this way until 
the leaf or petal is filled. These little forward stitches 
must be the same size as far as possible. Of course, in 
case of a curve the stitches on the convex side will need 
to be longer than on the inner curve. The passing of 
the threads from one side of the leaf to the other covers 
the space and gives the show of lighter color on the 
right side. Therefore, stitches must be taken small, 
as the strands must lie closely together, yet enough of 

the material must be taken 
up to insure against tear- 
ing. Each must enter into 
the fabric exactly on the 
lines of stampmg and m the 
exit of the former stitch. 
(Sae first illustration in 
Fig. 507). These little 
stitches form the outline of 
the finished work as it ap- 
Pig 5(^- pears on the right side. 

Page Seven 




(See first illustration Fig. 507), and this is why 
such care must be taken in making them. Letting the 
needle slip a little outside or inside of the proper out- 
line would spoil the symmetry of the whole design. 
The stems are worked either in back-stitch from the 
right side or in outline-stitch from the wrong side so 
that they will correspond to those in the leaf and petal 
outlines. 

Care must be taken in shadow work that the 
thread is not held too tightly lest it shrink so much in 
laundering as to make the sheer fabric on which it is 
worked wrinkle. It will launder well, but care must be 
taken as with any fine embroidery. Also, before 
stamping a garment preparatory to embroidering, it 
should be shrunken. Unlike other embroideries 
shadow work should be ironed on the right side. 

Another very effective decoration is Shadow Ap- 
plique. The material used, like that in the ordinary 
shadow work, must be sheer and the applied portions 
may be the same as the foundation or on slightly 
heavier material. The pattern is stamped on the ap- 
plique portion and basted under the foundation in the 
correct position, through which the stamping shows 
plainly. 

Now as to color, as has been stated, the first choice 
is given to white, but no objection is made to color 
effects. Sometimes a color is introduced for the under- 
lay only, having it and the embroidery thread of the 
same shade and to harmonize with whatever the gar- 
ment is to be worn with. 

Shadow applique is best suited to designs where 
the different parts stand out distinctly. The most im- 
Page Eight 




Fig 508 



portant point in this 
work is to stay the 
edges securely 
where the applique 
is cut. 

Usually the edges 
are worked in but- 
tonholing or the 
over - and -over 
stitch. If button- 
holed it may be 
done in the long- 
and-short, as shown 
in Fig. 508 or the 
regular buttonhole 
stitch from the right side through both thicknesses, 
after which the superfluous underlay is neatly cut 
away, (see Fig. 508), care being exercised not to clip 
the stitches but to preserve the outline accurately. 
After the edges are finished the veins of the leaf forms 
are worked in outline-stitch through both materials, 
then the stems may be worked in either of the follow- 
ing ways: When a light stem is desired, it must be 
worked only on the upper material and this may be 
done before the applique portion is cut away if care 
is taken not to put the stitch through the under ma- 
terial. The easier way to work the stems, however, 
is to trace the lines on the upper material with a lead 
pencil, then cut away the lower material close to the 
buttonholing, and outline the stems. The French 
knots in the center of flowers must be put in after the 
under piece is cut away. 

A novel way of finishing the edges in shadow ap- 
plique is by two rows of back-stitches as shown in Fig. 

Page Nine 



509 placed side by side. The veining is done also in 
back-stitch to correspond with the leaf edge, — one row 
being used. When a heavy stem is wished use two 




Fig. .50» 

rows of back-stitches and put in before the lower ma- 
terial is cut away. If not so heavy is desired then put 
in only one row after the applique portion is cut away. 
The dots are worked in satin7stitch. 

Figure 510 shows a pretty arrangement of squares 
in French Shadow Work. This work is seen so often 
on high-grade imported goods that it has found great 
favor with the makers of fine embroideries here at 
home. This is suitable for lingerie, outer garments and 
underwear. 

In the usual shadow embroidery, as has just been 
described, the design is stamped on the wrong side of 
the goods, but in French shadow work no stamping is 
necessary, as the thread can be drawn to define the 
blocks and give accuracy of outline. 

The threads must be as carefully counted as for 
drawn-work in order that the blocks may be perfectly 
even. Once the work is learned the worker will find a 
fascination in making new designs. A row of squares 
the same size as shown in Fig. 510 separated by a plain 
space of the same size, makes a very pretty and simple 
Page Ten 



border trimming for a ruffle, etc. A wider design 
would have a second row of the worked blocks above 
the first so arranged that the plain space of one row 




would come above the worked square of the lower row. 
In fact, several such. rows might be worked with ex- 
cellent effect. A Grecian design works out very hand- 
somely in this French shadow embroidery for decorat- 
ing filmy gowns. The drawing of only one thread de- 
fines the side of a square and the squares may vary in 
size and arrangement to suit one's taste and purpose. 
Bands of insertion and edging to match may be worked 
with blocks irregularly placed, and the bottom of the 
material buttonholed. 

Page Eleven 




Having determined the 
position for the group of 
blocks on the fabric, pull a 
thread to define the blocks 
and begin work as shown 
in Fig. 511. The work is 
done from the wrong side 
in exactly the same way as 
in this ordinary shadow 
work. (See Fig. 511). Ex- 
treme care must be exer- 
Fig. 511 cised that exactly the same 

number of threads is taken on the needle each time or 
the outlines of the blocks will not be perfect. After 
working the squares in one direction turn the work 
and go across the worked square in just the same man- 
ner in the opposite direction, as shown in the lower 
square in Fig. 511. 

The Damask-Stitch is used in the same way as 
the honeycomb-stitch previously described, that is, for 
filling in large open spaces. To work, begin at the end 
of a space, leaf or petal and lay the threads across the 
design on the slant or straight so that they will be even 
distances apart. After these first threads are laid, lay 
another row across these. Where the second lines cross 
the first, make a small cross catch- 
ing the two threads down securely. 
(See Fig. 512). These little 
crosses are made wherever two 
lines intersect. 

^'**'- ^*2 Twisted Bars are used to hold 

two edges together just the same as fagotting. They 
are easily and quickly made. Fasten the thread to the 
edge of material and pass it across to the edge on the 
Page Twelve 





opposite side, then pass it around the thread 
two or three times. (See Fig. 513) . Pull it 
so that all the slack is out of it and then 
stick the needle in the same place that it was 
originally fastened. If more bars are to be 
made, do not cut the thread, but carry it to 
the next place a bar is to be made by over- 
casting the edge of the material. 

The Woven Spider-Stitch is used to fill 
in spaces. Lay the foundation lines or webs 
Fig. 513 of the twisted bars. The last bar is carried 
to the opposite side as the others were but 
is twisted only as far as the intersection of 
the bars where they are tied together by pass- 
ing the needle under the entire group and 
bringing it up so that the working thread will come 
under the needle. If the bars are uneven in number 
begin where the tie was made and work under and over 
the bars alternately until the wheel is large enough 
and unt;l you have come to the bar the last half of 
which is not twisted, then take a little stitch through 
the last coil and the bar of a single thread to hold the 




Fig. 514 



threads of the wheel securely in place and finish this 
last bar to the edge of the material and fasten the 
thread. If the bars are of an even number every time 

Page Thirteen 




a round is made it will be necessary to pass under or 
over two bars to start with instead of one so that the 
rows will alternate. Fig. 514 shows the woven spider 
web stitch combined with lace insertion. 

The Ribbed Wheel has the foundation stitches laid 
in the same way as for the woven. The weaving, how- 
ever, is different for instead of passing the needle over 

and under alternately 

it is passed to the back 

over one bar and 

under two each time. 

(See Fig. 515). It is 

used the same as the 

woven spider web 

stitch — for filling in 

spaces. It is quite a 

^^^' ^*^ favorite on account of 

the ribbing and one feels well repaid for the little extra 

time spent in making it. 

BERMUDA FAGOTTING. 

This stitch is best suited to sheer materials that 
are loosely woven so that the needle will easily push 
the threads aside, such as organdy, dimity, lawn, ba- 
tiste, etc. 

Although the work is open no threads are drawn, 
but as its name implies the stitch consists of little 
fagots or bundles of the threads drawn together and 
bound with thread. 

Beautiful examples of this kind of work have come 
to us from our grandmothers and its daintiness com- 
bined with its durability makes it worthy of revival at 
the present time when hand work of all kinds is so 
much appreciated. 
Page Fourteen 



It has the advantage of being both easily and 
quickly made and can be done in both curved and 
straight lines. Fine embroidery thread from 100 to 200 
is usually employed and a large crewel needle about 
No. 3 in order to make the holes the proper size. 

Like shadow embroidery the stamping and work 
is done on the wrong side. There are two ways of 
making the stitch, one is by means of a single button- 
hole stitch taken across the stamped line from side to 
side as shown in Fig. 516. This stitch may be used in 



■■■■■■■■■■■■Hi 

iKMIMHHIIilHiiHttllll^ 



Fig. 516 

applying lace or insertion to sheer materials. (See 
Fig. 455) . The insertion or edging overlaps the mater- 
ial to which it is applied about one-eighth of an inch 
and for the convenience of the novice may be basted 
into position before beginning the fagotting. 

Fig. 517 shows another method of working which 
makes the holes a little more distinct. It will require 
more time to execute it but believe you will be repaid 
for it. Begin the work just above the stamped line 
and work from right to left as indicated in Fig. 517. 

Page Fifteen 




Tie the thread firm- 
ly to beg-in with and 
work two stitches 
into the first two 
holes as shown in 
Fig. 517, numbered 

1 and 2 drawing ^•^' ^*'' 

them close together. Next put the needle into the 
right-hand hole (1) and bring it out at a place just 
Delow the stamped line and equally between the two 
holes above. Take two stitches from 1 to 3, drawing 
them tight enough to make perfectly distinct. In tak- 
ing the last stitch in these two bring the needle out at 

2 and make two stitches from this point to 3, passing 
the needle to the left bringing it up at 4. Continue to 
make the stitches as described and work from 4 to 2, 
bringing the needle up at 5. Then work from 5 to 2 
and from 5 to 4, etc., until the line is completed. In this 
method it is intended that the lower holes should come 
on a line directly between the upper ones, else the zig- 
zag drawn-work effect will not ue secured. The work 
will look slightly drawn until dampened and pressed. 
After the straight line is mastered, learn to work 
curved lines. In doing this the holes on the outside 
must be a little farther apart than those on the inside, 
and it is easier to hold the inside of the work toward 
you while working. 

One of the prettiest ways of using Bermuda fagot- 
ting is in the dainty slips worn beneath organdies and 
lawns, which allow the design to show plainly. Shirt 
waists or thin summer dresses may also have a trim- 
ming of it with little trouble and no expense. 

A pretty design is shown in Fig. 518 for a waist. 
Page Sixteen 





FIgr. 518 



Butterflies worked in this 
stitch are especially effec- 
tive. 

ROMANIAN 
EMBROIDERY. 
The characteristics of 
this embroidery are its 
straight lines and the com- 
binations of different colors, 
therefore, when colored em- 
broidery is so much in 
vogUe for dress decoration 
this type of embroidery is 
most fitting. 

Sometimes the embroidery takes the form of rows 
of satin-stitch dots of graduated size perhaps between 
bands of lace insertion, or the design may be very com- 
pact. Sometimes it takes the form of solid floral sprays 
done in one or more colors, simple conventional scatter- 
ed motifs, or the design may consist of tiny satin-stitch 
blocks, outlined and connected, with stitches in black, 
the solid embroidery being done in a semi-barbaric 
combination of red, green, yellow' and blue so frequent- 
ly seen in these Eastern Europe embroideries. 

The material used for these brilliant peasant ef- 
fects should never be dead white, but more of a creamy 
tone which harmonizes far better with the somewhat 
glowing colors and subdues them. A crepe-like fabric 
is a very good substitute for the Eastern hand-woven 
stuff, and cotton voile or marquisette would be appro- 
priate, always remembering that it should have an un- 
bleached or creamy tinge. 

Fig. 519 shows in detail the stitch direction to be 
followed in working the different parts of a motif. 

Page Seventeen 



This embroidery worked out in two shades of blue 
combined with black would be practical as well as 
pleasing for blue is a color that can be worn with 
nearly everything. The darker shade of blue might be 
used only for the tiny shapes forming the two long 
sides of the triangular figures and for the outer row 
of blocks on the portion of the design connected with 
the conventional flower. All the rest of the design, 
dots included, are worked in the lighter shade of blue. 




Fig. 519 

A design could be done in one color in combination 
with black, but the color scheme suggested — red, green, 
yellow and blue — is not only more effective, but can be 
worn more indiscriminately than if any one of these 
colors is used by itself. There is no set rule for the 
arrangement of these four colors, but remember to 
always use black for outlining. For example, in the 
right-hand illustration of Fig. 519 after the tiny 
squares and triangular shaped spaces have been cov- 
ered with satin-stitch, they are outlined with black, and 
the pointed borders and connected lines also worked 
in black. 
Page Eighteen 



EMBROIDERED AND FANCY BUTTONS. 

The following are instructions referred to near the 
bottom of page thirty-one in Lesson 23 : 

These hand-made buttons come under the scope of 
any one who has clever fingers and add very much to 
the appearance of a gown. Like all handwork, they are 
expensive to buy but like the most, can be made with 
little difficulty at trifling cost. 

An undecorated fancy appearing button may be 
made by covering the button mold with either the 
material of the dress or its trimming and putting a 
frill around it of lace or plaited taffeta silk having it 
extend beyond the button about a quarter of an inch. 
This little silk plaiting should be cut on the straight 
and finished with a tiny hem and made as wide as half 
the diameter of the. button it is to finish, plus the quar- 
ter of an inch to extend beyond the button, and the al- 
lowance for the hem. Another way is to make a frill 
of silk, cut it on the bias and fray the edge out by pull- 
ing it over the end of the right thumb with one point of 
the scissors. In arranging a frill of lace, plaited or 
frayed out silk, take a sufficient length to make it 
amply full and after testing for the first button cut the 
length for the others by that length so they will all be 
alike, then circle the frill by a small seam on the wrong 
side and gather on the inner edge. Do not draw the 
gathering thread up tight but leave a tiny opening to 
fit around the gathering at the center of the covered 
buttons so that the button will lie down fiat. After the 
frills have all been seamed and gathered, place the but- 
tons in the center of them, slip a pin underneath to 
hold in position. Next turn the button over to the 
wrong side and sew frill securely in place. These but- 
tons are especially appropriate for fancy dresses, 

Page Nineteen 



waists and girdles. The buttons may also be decorated 
in any of the various ways before adding the frill. 

■ Any unit of embroidery may be used in decorat- 
ing buttons, such as those shown in the first, second, 
third, fifth and sixth illustrations in Fig. 520. The 
first design is a dogwood blossom in cut work made on 
linen. The flower and the ring are buttonholed, the 
connecting twisted bars being put in with the second 
edge of buttonholing. That is, if the flower is worked 
first, put the bars in when buttonholing the ring and 
vice versa. Put in a little dash of black at the tip of 




Fig, 530 

each petal in short stitches running lengthwise, cut the 
linen away from underneath and mount over any de- 
sired color. The second button is of eyelet and French 
embroidery over a color. The butterfly of the next 
button may be outlined in old gold, the body being 
Page Twenty 



solid in light brown, the spots, on the wings may be in 
light blue in eyelet or satin-stitch, and the seed-stitch 
background blue; or butterfly may be worked in black 
with spots on wings in two sizes of gold beads and the 
background, dotted in gold silk. The bars of the cross 
and ovals in the fifth button are worked in flat satin- 
stitch, and the center is filled in with French knots. 
The ovals may, however, be worked in the eyelet-stitch. 
The sixth button may be worked out in jewels, or beads 
and embroidery. For example it would be pretty 
worked on pearl gray broadcloth, the round and oval 
jewels of dull coral beads, joining them with either a 
tiny gold or silver cord. The little flowers may be em- 
broidered in pink Dresden ribbon, ribbosene, or che- 
nille, the centers in French knots of pale yellow silk 
or a gold bead, the little scrolls formed of metal thread 
in gold or silver to match cord joining the round and 
oval jewels. 

An almost unlimited variety of buttons may be 
made by the use of diff'erent designs and in working out 
the same patterns in various colors, also in varying the 
materials with which they are worked, using the same, 
of course, in each set of buttons. Besides the models 
given in tne lesjsons, and stamping patterns which may 
oe bought, many different ones will suggest themselves 
to the worker. For instance, the bird's eye or lazy 
daisy is a good one. It is easily worked and might be 
carried out in heavy silk, linen floss, gold or silver 
thread, chenille, ribbon, ribbosene, etc., with the center 
in satin-stitch, French knots, eyelet or a jewel accord- 
mg to the working of the daisy. The Fluer-de-Lis is 
also very, effective and a favorite design. 

Another method of decorating buttons is by woven 
designs used in drawn work such as the Greek cross 

Page Twenty-One 



depicted in the fourth button in "Fig. 520, the woven 
spider web, Fig. 514 or the ribbed wheel, Fig. 515. 
The divisions made across th,e button will depend on 
the size of the button and the pattern to be used upon 
it. The larger the button the more divisions are used, 
also designs such as the Greek cross, etc. require more 
than the woven and ribbed wheel to which We have 
just referried. The divisions are made even or odd ac- 
cording to the pattern used. For example, the woven 
wheel works out better if the divisions are odd while 
for the ribbed wheel the even or odd divisions are 
equally good but for the Greek cross and patterns with 
even divisions, the divisions of the button must be even, 
also. 

The button molds are covered in broadcloth, silk 
of a good wearing quality, or any material preferred. 
If the buttons are to be used for a trimming only, cut 
the covering small enough so that the edges will not 
quite meet after the mold is put in. Then by gather- 
ing with a short running stitch close to the edge with 
buttonhole twist or a stout linen thread and overhand- 
ing, the covering will be stretched tight and the edges 
thus brought together. This will enable the button to 
lie flat on the garment. If, however, the buttons are 
to be used as fastenings, cut th<^ covering a trifle larger 
than for a trimming button, say about an eighth of an 
inch larger on the whole. Put the gathering thread in 
far enough from the edges of the covering so that it 
will be drawn tight over the mold. Then run the 
needle in and out through the end of the covering 
beyond the gathering, three or four times, drawing the 
thread tight each time and fasten. This little exten- 
sion is used as a shank in sewing on the button. Do not 
Page Twenty-Two 



make it longer than an eighth of an inch or the button 
will stand up too much. 

In working the design use silk thread or linen floss 
about the size of knitting silk or buttonhole twist for 
small buttons. Bring the thread up through the hole 
in center of mold, carry down over the edge, across 
the middle, catching slightlj^ then up over the opposite 
edge to the right side and down through the center. 
This divides the button into halves. If it is to be 
divided, say into sixths, measure with the eye one third 
of one of the half divisions and diagonally cross with 
silk to one-third the opposite space. There will now 
be remaining a space which is to be simply divided 
equally. This makes six lines radiating from the cen- 
ter. Bring the needle up through the center space and 
put in whatever design is desired. Explanation of the 
making of woven and ribbed wheels has already been 
explained. The fourth button in Fig. 520 shows the 
weaving of the Greek cross. There are sixteen threads 
upon which to weave — three in each section of the cross 
with one between. It may be made, however, without 
this thread between the sections by dividing the button 
into twelve parts and working each part on three 
threads. Work from the center and weave back and 
lorth over and under the tnreads until about two-thirds 
of the distance from center to edge, being careful in 
the weaving to draw the thread the same each time so 
that the inner edges of the sections will be perfectly 
even. When one section is finished run the thread back 
to the center concealing it between an outer row of the 
weaving and continue in this way till the cross is com- 
pleted. Similar patterns could be made by making 
three or five sections instead of four. 

The seventh button in Fig. 520 is of genuine 

Page Twenty-Three 



French type and may be carried out in black with jets 
or in colors to correspond with any gown or evening 
wrap. The little looped line within the edge of the 
button is of the fine gold cord couched on with gold 
silk. The small jewels are also of gold. The eighth 
button is decorated with seed beads, each covering 
being worked before putting it over the mold. The 
lines of beads will depend upon one's taste and the size 
of the button. In the illustration there are four lines 
across the button or what would appear as eight lines 
from the center. If your eye is not trained to accurate 
division take a circle of paper about two-thirds the size 
of the mold to be covered and divide into equal sec- 
tions either by folding or with lead pencil. Place this 
in the center of covering and make a small pencil dot at 
each division. Put in the lines of beads accordingly 
across center of button from one dot to corresponding 
dot in the other half of button and hold down at the 
center by a stitch across all. A line of beads will need 
to be strung each time the needle is brought to the right 
side of covering, depending on distance from one cor- 
responding point to the other. In putting in these lines 
be sure to draw the thread only tight enough to make 
them lie close to material without puckering. A black 
covering decorated with gold beads, a brown or tan 
with blue, etc., make pleasing combinations. 

Designs for stenciled buttons are broken in out- 
line which is characteristic of stenciling and may be 
carried out in two or more colors forming a most agree- 
able contrast to the cloth suit or tub frock. The ninth 
button shows a dainty design in this work. As in the 
embroidered buttons, do the work before covering the 
mold. 

Cloth gowns, suits and separate wraps are trim- 
Page Twenty-Four 



med with buttons of self-material ornamented with 
simpte or elaborate designs in braid of the same shade. 
Narrow soutache braid is the most satisfactory. It is 
fine, pliable, and inconspicuous, giving just enough 
character to the button to be decidedly attractive and 
modish. Cover the mold first and then do the braid- 
ing. 

The first illustration in Fig. 521 shows a pair of 
buttons, joined with a loop of knotted braid, which may 
be used as a fastening, at the waistline in back of a 
coat, or about three sets of them across the back of a 
girdle. In the latter cases the knotted loop may be 
snorter. The loop is smgr^e-knotted to avoid bulk. That 
is, only one strand coils under, then over and through 
to make the tight knot. The illustration in the lower 
right-hand corner shows how a single length of braid 



Fig. 521 

Page Twenty-Five 



is formed into a square, crossing visibly at the corners, 
the surplus braid being secured neatly and firmly at the 
back of the button. The raw ends of the braid con- 
necting the buttons are secured neatly and firmly at the 
back of the right-hand button when on garment, the 
loop end being left free to go over the left-hand button, 
in case the buttons and loop are used as a fastening; 
otherwise, secure the loop end under button also. 

The button near center of figure is a more elabor- 
ate design, pentagonal. The braid is knotted as shown 
in the working model beside the button. The braid is 
doubled and the first knot made as in the knotted 
strands between the two buttons. Then successive 
knots are formed, five in all, about their own size apart. 
Knot with the right strand as the work is held in an 
upright position, leaving the left strand stationary. 
After the five knots have been made, the left strand 
is pulled gently into little outstanding points as shown 
in the illustration. The last knot is brought over 
to the end of the loop and secured, the raw ends cut 
moderately close to knot and slipped down neatly under 
loop. The design, as you will readily perceive, will 
adapt itself to three, four, five, six, or to an indefinite 
number of points, according to the number of knots 
made, and the size of the button. It can be made very 
rapidly after one has mastered the knot, which is not 
at all diflficult.. 

Other designs, so simple as to require no illustra- 
tions, are very attractive. A pretty one~^may be made 
with soutache decoration of two sets of triple strands 
crossing at the center; then two single strands also 
crossing at the center. 

A double triangle design is made by placing the 
Page Twenty-Six 



points of the second triangle across the sides of the 
first. Let the braid just come together at the edges 
without crossing and fasten the ends securely and 
neatly underneath the button. 

Good sized buttons, their purpose being solely as a 
trimming and not to be buttoned, may be attractively 
decorated in the fashionable coronation cord, say in 
flower design such as shown in the lower illustration of 
Fig. 452, Lesson 23. 

Where a gown is lace-trimmed and buttons are 
desired, they may be covered first with the material 
of the gown and then with lace. ' If the lace be a simple 
all-over pattern, the buttons may be covered haphazard. 
Where, however, there are decided motifs in the lace, 
such as flowers, leaves, stars, circles or other conven- 
tional designs, they may be cut out carefully and ap- 
pliqued to the face of the button. Plain lace buttons 
may be decorated with a spider web or other woven 
design. 

Another clever conceit is made of silk soutache 
braid by finishing one end of the braid neatly and coil- 
ing the braid edgewise around and around until as 
large as desired — usually about the size of a penny or 
five cent piece. Finish the last end carefully, tucking 
under and out of sight and fasten the coils together by 
running the threaded needle straight through them 
from one side to the other, then whip along underside 
of outer coil until half way between points where this 
first thread entered and came out of button, and secure 
the coils by a thread run through similar to and cross- 
ing the first at center of button. As a decoration these 
buttons are a decidedly pleasing novelty. 

The woven braided button is also an attractive 

Page Twenty-Seven 



one made from fancy flat silk braid which comes about 
a third wider than the soutache. The width of braid, 
however, will depend somewhat on one's taste and the 
size of button desired. They may be woven into a Chi- 
nese knot, illustration and description of which is given 
in Lesson 21. Often two sizes of these buttons are 
made for the same garment, the smaller size being 
made by a single knot of the braid. Make this knot 
sufl?iciently loose to admit of the ends being turned 
back, secured and hidden neatly underneath. 

SIMULATED BUTTONHOLES. 

Simulated buttonholes naturally follow the subject 
01 buttons and with buttons make a very effective trin-i- 
ming. They may be simulated by a blind buttonhole, 
a loop of braid or cord or by use of the bound button- 
hole. The size, shape and position of these buttonholes, 
differ very much. 

A blind buttonhole differs from a real one only in 
the material not being cut where the purled edges come 
together since it is used for ornament only and not for 
fastening. 

In making buttonholes of flat braid avoid using it 
too wide as the edges are placed side by side and the 
width across the widest part of the buttonhole will be 
twice the width of the braid. Usually the raw ends of 
the braid are concealed under the button, but in some 
cases they are hidden by another strip of braid. (See 
the simulated braid buttonholes in Fig. 522 left-hand 
side) . Cut a length for a buttonhole twice as long as 
it is wished when finished and then cut the others by 
it so that all that are to be used similarly will be 
exactly the same length. Place the ends even and so 
Page Twenty-Eight 



the inner edges will come together. The outside edge 
of braid at one end of the buttonhole will extend at 
right-angles across both widths forming a point. In 
most cases the braid is turned over so that this cross- 
ing does not show from the right side. Pin into posi- 




Fl?. 522 

tion, then fell to garment as invisibly as possible, see- 
ing that the points are brought out distinctly and the 
buttonholes are the same distance apart in each group> 
When all are sewed on, place the other strip of braid 
over the ends of the buttonholes and secure. Next sew 
on the buttons. (See illustration). Where there is 
no other trimming to cover the ends of braid, cross 
one-half of it over on the other half. (See illustration 

Page Twenty-Nine 



at the lower, left-hand corner of Fig. 522). In -this 
case they are put on so that they slant upward instead 
of horizontally. Soutache braid is much used for sim- 
ulated buttonholes and may be used either flat or on 
edge. 

Cord buttonholes may be made of the manufac- 
tured silk cord or that made from silk or satin. Cut 
the material about one inch wide. Turn under each 
edge and blindstitch the two folds together. Cut the 
cord of material into pieces the right length for the 
buttonholes, and place them on edge of the garment, 
that is, with the two edges that were sewed together 
sewed directly to the garment so that the stitches will 
not show through on the outside. Another way of 
making these buttonholes is by covering the small cot- 
ton cord with a bias strip of material wide enough 
to wrap around the cord with edges that lap well, after 
one edge has been turned in for a neat finish. ' This 
edge is felled over the other and the joining placed on 
the under side when slip-stitchingcord on the garment. 
These cord buttonholes are sometimes put on in quite 
a broad loop as shown in the illustration of the three 
terminating with square buttons, about the center of 
Fig. 522, on the dark trimming band. The group of 
three just underneath with round buttons on a stitched 
strap show the buttonholes in narrower loops. In some 
cases they are entirely closed, the cord being whipped 
together from the underside before applying. 

The same method is used in preparing a bound 
buttonhole as the opening for a pocket (see Fig. 224) 
only on a smaller scale, and instead of stitching close 
to the mark-stitch about an eighth of an inch back and 
straight across the ends. Make a mark for each slash 
Page Thirty 



in the desired position on the wrong side of garment 
and cut a bias piece of the material of which they are 
to be bound from an inch to an inch and a quarter wide 
and from three-fourths to one inch longer than the 
buttonhole. Baste the right side to right side of gar- 
ment over the buttonhole mark, the center of one in the 
center of the other. Make a row of stitching on either 
side of mark and straight across the ends as they are 
reached. Tie the threads at end of stitching, remove 
the basting and cut along the buttonhole mark begin- 
ning an eighth of an inch from one end and continuing 
to within that distance from the other. From either 
end of this slash make a little diagonal cut to within a 
stitch or two of each corner. Push the binding mater- 
ial through to the wrong side. From the right side 
baste the binding so that it comes over the edge of the 
slash without there being any space between and the 
same amount of binding shown on either side. Then 
from the wrong side turn under the raw edge of bind- 
ing and fell down, folding in the little plaits at the 
ends so that their edges will come together and will be 
perfectly smooth. Next whip the edge of the button- 
hole together so the stitches will not show from the 
right side and press. 

Buttons and simulated buttonholes are used in 
pairs, or in groups of three or more. They are, how- 
ever, sometimes used continuously with an equal space 
between each two. In most cases the button comes near- 
est the edge to be decorated and the buttonhole back and 
straight out from the edge. (See first illustration in 
Figs. 189 and 193, and Fig. 470) . In Fig. 475 it will be 
observed that the buttonholes are arranged so as to 
conform to the curve and the distance between the ends 

Page Thirty-One 



farthest from the button will be less than that at or 
just under the button. In some cases the buttonholes 
extend in a slanting line from the edge it decorates in- 
stead of parallel or at right angles with it. In any 
case, however, those in the same group should extend in 
the same direction. Two buttonholes may extend from 
one button as depicted at the top of Fig. 522 and are 
used as a festoon or may be used as a fastening by at- 
taching one. loop and the button to the edge of garment 
and sewing a hook on the end of the other loop to be 
fastened in an eyelet. The button in this ornament will 
be recognized as a braid on the order of soutache braid, 
only larger, in a Chinese knot, the loop being made 
of a wider braid or two strands of narrow braid whip- 
ped together. 

Another example of simulated buttonholes and 
buttons is given in the upper left illustration at the top 
of Fig. 523 which are made of braided soutache. This 
trimming might be effectively used down the right 
front of a coat having the buttons and buttonholes as 
far apart as real ones would be and terminating at the 
closing of the coat but let the braiding underneath 
buttons and buttonholes extend the full length of gar- 
ment. Say in a full length coat about six buttons and 
buttonholes with a space of three inches between. 
About three might be effectively used on the shoulder 
of coat, the loops coming in front, also a couple on the 
patch pocket, if one is used. 

BRAIDED FROGS AND PENDANTS. 

The simpler frogs are nothing more than a sym- 
metrical combination of loops. Frogs may be used in 
Page Thirty-Two 



pairs or singly with a 
braided or the barrel 
buttons so much used 
with frogs. (See A & 
B Fig. 522). In the 
first instance the fas- 
tening is made by 
means of a hook and 
eye, the hook on the 
right side of the belt 
underneath the frog 
and the eye on the ex- 
tension at the left of 
the hook, while in the 
second example the 
fastening is made by 
placing the loop over 
the button. In C is 
given an example of 
frogs used in pairs, ^^^' ^** 

also the clover leaf frog depicted on a little 
girl's coat in Fig. 524. In C, (Fig. 522) the loop is 
made with the upper frog, or the one which will come 
on the right-hand side oi garment, and a button is then 
sewed at one end of it similar to the detailed illustra- 
tion of the clover leaf frog. The frog at left side of 
garment is sewed from the edge according to the lap 
desired and a button sewed on top of it also which 
receives the loop on right side of garment. 




A pretty idea is to whip together two kinds of 
braid — one kind havitig a smooth plain surface and 
one with a twilled or fancy picoted edge. (See A Fig. 
523). By joining these narrow braids together with 
tiny invisible stitches, a much prettier effect is often- 

Page Thirty-Three 



times obtained than when only one variety is used and 
it is not always an easy matter to procure just the 
desired width. 

Many designs will suggest them- 
selves to the worker and they can 
easily be copied from an illustration 
and varied in different ways by tak- 
ing from one and adding to another. 
For instance, the frog in A Fig. 522 
might be increased in size by having 
two circles of the braid at the center 
on either side instead of one, the one 
in B Fig. 522 by having two more 
loops on either side of tne frog in- 
stead of one. 

Frogs and braided ornaments are 
so much used for trimming nowadays 
that transfer designs of them may be 
purchased as well as those for em- 
broidery. They are not only devel- 
Fig. 524 oped in braid but also in cord or tub- 

ing. The method of making this, tubing has been pre- 
viously described. Pretty results may also be obtained 
by twisting together two strands of soutache braid, 
wnile three or even four strands braided make a trim- 
ming in itself. (See Fig. 523). 

The frog shown at the lower right-hand corner of 
Fig. 523 is made entirely of soutache and while the 
finished frog appears quite elaborate, the construction 
is simple. The body of it consists of two rows of braid 
twisted together, outlined by a plain line of braid 
tacked at the sides, (the two strands being tacked to- 
gether on the under side as the twisting is done) then 
the whole is folded under across the top to give the 
Page Thirty-Four 




point. The loose ends are joined at the base with three 
loops of braid which is a continuation of the single 
strand in the portion just made and one of the braid 
buttons is sewed on top as a finish. Around the body 
of the ornament is sewed a length of braided soutache, 
the raw ends being tacked underneath. 

An ornament of soutache in the military braid 
with pendant balls is shown in D Fig. 522. About one 
and one quarter yards of soutache will be required for 
the loop and two ends with balls, which are all made 
from one piece of braid. Double one end for a dis- 
tance of six inches and proceed to make a Chinese 
knot with the double strands. Coax into a perfect ball ; 
cross the ends and sew securely together; conceal the 
fastening and short end in the center of the knot. Next 
make a Chinese knot with single strand close to the 
first knot, sup loose end through center of knot. Make 
two similar knots at the other end of braid length. 

Next fold braid at the center, and with another 
length of braid tie an ordinary knot around the double 
strand about three quarters of an inch from top of the 
loop. Then proceed to weave back and forth ; slip first 
strand under braid loosely; *bring second strand over 
and down so that there will be a loop on each side of 
the braid through which to slip each- strand as you pro- 
ceed. Bring the under (or first) strand up through 
loop and then down on the same side and under. Re- 
peat from * until the desired length. (See working de- 
tail E Fig. 522). Finish ends off by winding around 
and around this last strand with sewing silk and fast- 
enmg neatly under the first strand. A tiny brass hook 
screwed into the edge of your sewing table upon which 
to place the first strand would be quite an aid in weav- 
ing the second strand. 

Page Thirty-Five 



A circular ornament with pendant tassel is shown 
in F Fig. 522. The foundation is a flat Chinese knot or 
button. G shows the simple looping of the braid, which 
is sewed to the edge of the Chinese knot, while H 
shows a farther interlacing which completes the orna- 
ment. The round button, suspended an inch below the 
finished circular ornament just described, is also a 
two-strand Chinese knot. In this instance, after for- 
mation, the knot is pulled and coaxed over the tip of the 
finger into the shape of a ball ; the ends are crossed at 
the left side, the right strand being placed over the 
rigiit strands and then pushed directly up through the 
center of the ball. Thus, there are two strands above 
the knot and two below. The upper strands are at- 
tached underneath to the round ornament. The lower 
strands are increased to eight in number four and one- 
naif inches long and are finished at the ends with a loop 
and three coils of braid sewed in place. To accomplish 
this last, turn up two inches of braid, tack lightly one- 
half inch from the end of the loop, coil the end of the 
braid around the loop three or four times and tack 
securely and neatly, x he strands for the lower part of 
tne tassel should be cut and these with the two extend- 
ing from top to bottom of the tassel should all be sewed 
together securely before making the ball below the 
circular ornament which will conceal the joining. 



Page Thirty-Six 



LESSON No. 27 



Cl)e ^Imertcan ^gstem 
of Bressmafeing 

TAUGHT ONLY V.V THE 

American College of Dressmaking 

Kansas City, Mo. 
MISS PEARL MERWIN, Supervisor 

LESSON NO. 27 

DRESS ACCESSORIES. 

What woman is there among us who in her heart 
does not take more real enjoyment in the dainty little 
accessories which go to make up a well dressed woman 
than in the purely needful part of her attire? Her 
belts and her buckles, her collars and ruffles, ribbons 
and laces, all afford an unending fascination to the fem- 
inine nature. Then, too, there are the collar and cuff 
sets, fichus, sashes, bandeaux, hand bags, parasols, etc., 
etc. In fact, the articles belonging to dress accessories 
are almost unlimited. 

With the woman with a comfortable income the 
planning of her wardrobe is an easy matter for she can, 
as fancy dictates have soft, dainty gowns for dressy 
functions ana handsome tailored suits for serviceable 
wear. She feels the necessity, however, of giving at- 
tention to details. Then her sister, who has only a lim- 
ited amount of money to spend, must be even more 
careful in selecting the accessories of her gowns, which 
so plainly indicate the individual taste of the wearer. 

It seems quite safe to say that the chief among all 
dress accessories is neckwear. 

Page Three 



NECKWEAR. 

Never before has there been such a wonderful 
variety of dainty neckwear on the market, nor such a 
craze for becoming jabots, fancy collar bands, bows, 
ties, cravats, turn-down collars, and stocks. It must 
be admitted that most of these novelties look best on 
long, slim necks, but fortunately there are a good many 
being shown that are appropriate for short and thick 
necks. The stocks with points commg just behind the 
ears are becoming to the short as well as the long necked 
woman, as it fits quite snugly and its points add great- 
ly to the apparent height. 

There never was a French woman who forgot for 
a moment the importance of the little accessories for 
her neck, and on them she frequently depends for the 
special becoming note of her whole costume. In fact 
every well dressed woman appreciates the value of the 
little things in dress, and at the head of these little 
things she places neckwear. She long ago has realized 
that an unsuitable necktie, one entirely out of harmony 
with her gown, might ruin completely that gown's ef- 
fect and, therefore, is careful not only to avoid inap- 
propriate neckwear, out that which might prove un- 
becoming to her own individual type. 

To many women, however, the prices asked for 
these bits of finery in the stores seem appalling but 
with the knowledge of fancy stitches and trimming that 
all of my graduates should have acquired from their 
lessons they may easily and inexpensively copy a great 
many of them at home, and that at no great sacrifice 
of time. 

An excellent plan is to give up an afternoon or 
more ^f you can spare it to the making of neckwear. 
With a box full of ribbon, silk, lace, net and mousseline 
Page Four 



pieces, some fancy beads, tiny buttons, spangles and 
jet, a few skeins of floss, chenille, soutache braid, 
silver thread and embroidery silk, bits of edging 
and insertion, all-over lace, and odd medallions one can 
turn out a great variety of dainty and inexpensive 
novelties in a short time. 

There are always articles of neckwear that are es- 
pecially the rage each season, therefore, have at hand 
as many late fashion magazines as possible from which 
to get ideas as well as having made a recent visit to the 
chief dry goods stores of your town. 

The description of those which follow are not only 
those in vogue at present but which are in special favor 
from time to time. 

Jabots embrace a great variety of sizes and shapes. 
They are made of linen, fine lawn, net, point d'Esprit, 
dotted Swiss, etc., combined with embroidery, lace in- 
sertion, and edge. Some are side-plaited, some with the 
plaits on either side turning toward the center, in 
others the plaits turning from the center, and some are 
in the one sided effect. Some of these one sided frills 
reach from the base of the collar straight to the waist- 
line, and then there are a variety of others in all the 
in-between lengths. Some show a broad, double or 
triple frill on the left hand side only, and then there 
are those which not only have the left-side frill, but a 
narrow little frill as a finish at the right side, with a 
band of embroidery between the two. 

The raw ends of a jabot are finished at the top 
with a narrow band which is pressed to the under side 
and in which a buttonhole is made to receive the collar 
button when worn with a turn-over collar, or this band 
may be turned under and felled down, placing a small 
safety pin at the back to fasten to waist or collar. 

Page Five 



Some are finished at the top with a satin ribbon or 
velvet bow. 

Many charming touches of color or black may be 
introduced into these pretty bits of neckwear. Some 
are ornamented with colored or tiny jet beads. It is 
quite a fad to have the same design or touch of color in 
the collar as the jabot or tab. (See A, C and N, Fig. 
525) . A novel way of adding a touch of color in a col- 
lar and jabot is shown in A. The collar is made of two 
thicknesses of dimity or linen, with a linen underhand. 
The polka-dots are worked in satin-stitch either in 
white or some tint that will harmonize with the color 
of the chambray used. Baste the different pieces of 
collar on stiff paper in the position shown first, the half- 
inch bands of dimity and the chambray squares form- 
ing the border of turn-over, next the inner bands and 
squares and lastly the body of the collar, which is cut 
the height desired. All are basted % of an 
inch apart and the space filled in with a fagot stitch. 
Cut a paper pattern for the jabot. As the plaiting is 
the last step, be careful to cut large enough to allow for 
the plaits. Slope the different sections at the bottom 
from 1/2 to 34 of an inch, turn the edges and hem. If 
one is uncertain as to the size to make this pattern 
take a piece of wrapping paper, or silesia, cut and lay 
in the plaits until the right shape and then make pat- 
tern accordingly. Baste the colored strip of chambray 
along the straight edge of the foundation and the 
squares into position. .Next baste a narrow fold of the 
dimity along both the straight and bias edges % of an 
inch back from the edges. After the fagot stitch has 
been worked, remove from paper pattern, dampen and 
carefully press before plaiting it. 
Page Six 



Very dainty jabots may be made out of embroid-' 
ered scalloped-edge handkerchiefs with the addition of 
Valenciennes or cluny lace. A pretty one may be made 
as follows. Cut a twelve-inch handkerchief into three 
sections, one seven inches deep all the way across, then 
cut the remaining pieces in half, which will make the 
pieces each five by six inches. Join the two six-inch 
edges with a strip of lace insertion. This forms the 
top piece of jabot. The ends and sides of this, also the 
seven by twelve-inch piece are edged with the lace. It 
will require IV2 yards of lace % of an inch wide. Lay 
five plaits turning toward the center in each section. 
The plaits in the top section just come over the edge of 
insertion a trifle but begin closer to the edge than 
in the lower. In the lower section the edges 
of the center plaits meet and the edges of 
outer plaits are on a line with the center plait in either 
half of the upper section. At the top of each section 
the plaits, with the exception of the center ones, 
overlap one another. Press the plaits with a warm 
iron and stitch the ends to a foundation I14 inches 
wide and li/^ inches deep, stitching the bottom section 
to the end of foundation and the top section one inch 
above. 

B in Fig. 525 shows a jabot with an embroidered 
linen or fine lawn tab. over a lace-trimmed square of 
net, plaited into shape. The lace wheels are made by 
buttonholing the inside edges, as in the Duttonholed 
eyelet, except they are made large enough to work a 
spider web in the center and then the linen is trimmed 
out very carefully from underneath close to the button- 
holing with a pair of sharp pointed scissors. The sou- 
tache braid may be black or any desired tint. It is 
knotted at the top into three Chinese knots, two 

Page Seven 



strands are tied at different distances from the top and 
each one terminated in a Chinese knot. Another ex- 
ample of embroidered tabs is shown in C, and in N. 

Jabots in tailor effect are made of satin or silk 
either in plain colors or combined with Persian with 
tne same shade predominating. All-over lace also 
makes an effective combination. The ends may be fin- 
ished with silk fringe, tiny balls made of the same ma- 
terial as jabot and stuffed with cotton (described in 
Lesson 21) or left plain. 

A neckband with mannish bow and fancy ends to 
wear at the base of a collar when the blouse is high- 
necked, is shown in I, Fig. 525. The band may be from 
% to one inch wide when finished and just 
long enough to fit around the base of the collar and 
fasten in the back with a hook and eye, or a dainty coir 
lar pin. This neckband can easily be made of small 
pieces of silk in any preferred color. For the ends cut 
two strips of silk four inches long and one five by two 
inches wide; for the bow cut one strip twelve inches 
long and two inches wide, and a two-inch square forms 
the cross piece. In all it will take from forty to forty- 
two inches in length. Also cut nine round pieces the 
size of a silver dollar for the balls at the end of the 
strands. The silk is gathered with buttonhole twist the 
same shade and made as already described. Make the 
ends by stitching them lengthwise wrong side out and 
turning them right side out with a lead pencil after- 
ward. Miter one end of each and sew on the three 
balls, each being suspended by a length of the twist 
1/^ of an inch long. Tack upper ends together at the top. 
Sew on the band and bow, and attach a hook and eye at 
the back, if one is used. If this tie is to be worn with a 
turn-over collar then fasten beneath the bow. Bands 
Page Eight 




^> 



L 



M 



O 






^ 




Fig, T.zr, 



of plain silk or ribbon may be decorated with feather- 
stitching on the edges, beads or any simple embroidery 
stitch and the ends finished in silk or bead fringe or 
tassels, tiny chenille balls, etc. 

These neckbands are also made of ribbon, a very 
novel one seen in the shops was made of two widths of 
ribbon of different color. The narrower one, which was 
about 1/2 inch wide, was of some tint, such as blue, 
pink, canary or lavendar and the wider one %, of an 
inch was white; the narrower ribbon stitched in the 
center of the wider ribbon, A tiny bow with ends 
aoout two inches long was made; the ends were 
mitered to which were sewn three little round silk but- 
tons suspended from about one-fourth inch of twist. 

The twisted collar trimming or neckband in O, 
(Fig. 525) is made of narrow strips of silk, stitched on 
the machine and turned, but uncorded, since bulk of any 
sort is very undesirable at the throat. The two knots 
are miniature single-strand knots, similar in shape and 
construction to the girdle knot described in Lesson 21. 
The top of the collar with which this is worn may be 
finished very simply with corded silk whipped onto the 
very edge of a milliner's fold. 

The neckbands made of velvet ribbon or a bias 
strip of taffeta or messaline in black are often decorated 
in flowers and leaves made of silk or ribbon. For in- 
stance, rose buds in dull yellow, rose pink, etc., (one 
color in each band) are made of satin ribbon folded 
double on the width and wound in a close roll, to give 
the thick ros^ effect. Beneath each rose are two green 
leaves which give a final touch. They are made of a 
small bit of dull green satin ribbon folded double on the 
length and gathered to a pointed shape. Description 
of others will be given later. 
Page Ten 



The velvet bands with a cluster of flowers embroid- 
ered in silk, ribbosene, etc., make a pretty little finish 
to be worn around the neck with a collarless gown. 

Neck bows and ties should be selected with respect 
to the garment or collar with which they are to be worn. 
There are a variety of styles to ba worn with the stiff 
turn-down collar such as shown in C, D, K, and G, 
(Fig. 525), one of the simplest styles being the one in 
D. It is made of twenty inch soft liberty ribbon four 
inches wide. Cut off twelve inches and fold both ends 
back to the middle for the underpart, then use six 
inches of the remainder for the pointed section, folding 
the corners under and whipping together to form the 
points. Place this over the first, fasten the two to- 
gether by gathering through the center and several 
firm windings of the thread around them. Finish by 
folding the remaining two inches of the ribbon around 
the bow and tacking neatly at the back. This bow may 
be varied by using several loops, by combination of 
two harmonizing colors or by shaping the ends differ- 
ently. For instance, the one on the stock collar in F 
has two sets of loops; each set having straight ends, 
also see tie of Fig. 106, Lesson 5; the one in K, (Fig. 
525) has decided points in the under part and rounded 
ones in the top section. It is made of twenty inches 
of 31/2 inch width ribbon. Cut off a seven-inch 
length for the under part and eleven inches for the 
upper. The ends of the lower part are turned back as 
has been described for the upper section of D. After 
bringing the ends of the upper section together tack 
lightly to the -lower part, place the four fingers of 'each 
hand into the loops and give a full turn, each in the op- 
posite direction from the other, then tack securely into 

Page Eleven 



position and bind center tightly with the remaining 
two inches of ribbon. 

The plaited velvet or silk bow depicted in C, worn 
with the sailor collar and embroidered tab to match, is 
also a good style for a turn-over collar. Also with the 
turn-down linen collars, such as used on shirt waists 
and shown in H, the little muslin ties which pass 
around the neck under the collar and tie in a bow in 
front, are very fetching. These are made of sheer 
lawn, batiste or handkerchief linen about four inches 
wide and thirty-four inches long, and are ornamented 
at the ends with embroidery, lace, drawnwork or a 
plain hemstitched hem with a dainty little edge. A 
pretty fancy is to hem the sides very narrowly and 
finish each end with a lace medallion or embroidered 
butterfly. 

It is considered quite natty to have the collar and 
tab, tie or bow to match. See the sailor collar and tab 
in C and the turndown collar in N. 

The bow in E is called the "airship" bow and 
measures from eight to twelve inches, or even more, 
±rom end to end. It is made of silk or velvet in black 
and a variety of colors, but is considered most stylish 
in black. This, also the tie in J is especially good worn 
with collar shown in L of this figure. The tie 
is made from II/2 yards of messaline ribbon 
five inches wide, if a neckband is desired. Cut oflP 
about fifteen inches for the band and plait softly at 
each end. From the remainder of the ribbon make a 
simple bow with two short loops and two long loops 
and ends; knot the loops and ends down about one- 
third' their length, holding the loops and one end tight, 
bringing the other end around, up over and through 
the loop thus formed ; pull same tight. If neck band is 
Page Twelve 



used attach bow to it and finish with hook and eye. 

Cravats are appropriate worn either with a turn- 
down, sailor collar or those that fasten low in front. 

The deep turn down collar as illustrated in H may 
be drafted by the same instruction as for the man's 
collar in Lesson 16 of this style. If it is to be embroid- 
ered, do it before putting the collar together. 

To draft the plain collar similar in shape to that 
in L place the front and back of waist together at the 
shoulder lines and since the curve is very slight below 
dot P place Line 2 in the neck curve say one-fourth 
of an inch below B in back draft, turn so that edge of 
square will touch P and draw a line down from this 
point about six inches long. For. a collar three inches 
deep in the back draw the line representing its center 
back from B to a point V2 i^ch beyond center back 
line of waist. This collar meets about 2V2 
inches below neck curve. If wished lower, simply 
draw the line from P longer. The collar may be any 
shape wished at its lower edge and finished at its inner 
edge with a band from % to % of an inch wide. In 
making a plaited collar as shown in L make a plain 
pattern as described above and, after putting insertion 
and lace on a straight strip twice the length of the in- 
side curve of collar, lay in the plaits, (or have it done 
at the plaiter's) and then turn it off at the inside curve 
according to the model. Plaited Dutch collars and 
cuffs of the manufactured embroidery are made in a 
similar way. 

When making a collar foundation, whatever the 
style, after making the draft cut a pattern from paper, 
silesia, or better still of light weight canvas so that it 
may be stretched or shrunken into exactly the shape 
desired, and fit on the person for whom it is being 

Page Thirteen 



made. This will give an opportunity to change any 
lines that may appear differently on the form than 
expected, before cutting from the material. 

Many are deterred from making fancy stocks 
owing to the difficulty of obtaining a good fit and in 
keeping the shape, but with the knowledge of drafting 
patterns by measures and the details of construction 
these trouble vanish. Draft and fit the foundation as 
suggested above. They, like other neckwear, are made 
from a variety of different materials, depths and 
shapes and whether of wash goods or are non-washable 
they should be boned. If the stock is lined the bones 
should be on the inside of the lining, and the washable 
or silk covered bone used according to the material of 
which the stock is made. Cut the pattern for the lin- 
ing l^ of an inch smaller than the outside all 
the way around, marK along the edge and allow for the 
finish and overlap. The edges of the stock should be in 
a continuous line with the edges of the waist or the 
effect will be completely spoiled. Fold the lining in the 
center and mark for the bones. On some necks one 
supporter on either side is sufficient, while for others 
it is necessary to have two. The top of the bones on 
either side of the center front slope toward the back 
instead of being straight up and down. It should be 
ooned on the "eye end" also which, as a rule, is the left 
end of the stock, or the right-hand end of the lining, as 
the bones are sewed on the inside. Stitch the bones ac- 
cording to the marks, seeing to it that they do not 
reach the turning edge at the top and bottom by 
i/g of an inch, for in wearing if they are made the 
same length as the stock is deep they would work out 
beyond its edges, effecting both the comfort and out- 
line. After the collar lining is boned, the edges are 
Page Fourteen 



creased back, or basted if necessary to hold in position, 
and laid aside until the stock is completed and the hooks 
sewed on. They should be small, not larger than No. 
1, and not more than l^ inch apart and l^ 
of an inch back from the edge. Slip the end of the lin- 
ing under the hooks and baste it into position, then 
through the center, and begin at the "hook end" and 
fell down neatly all around. Lastly sew long eyes on 
the outside of stock on the line of overlap. The latter 
should be marked with a basting until the eyes are on. 
The hooks and eyes on a stock should be sewed on as 
immovably as possible so they will not 'work loose by the 
frequent hooking and unhooking. There are two strong 
points in favor of lining a stock. They are more quick- 
ly finished and the lining serves as a protection to the 
stock, besides making a neat finish, therefore, should, 
be used whenever practical. The lining should be firm 
but thin so that it will add as little bulk as possible. 
The bones in an unlined collar should, as in the lined, be 
about 1/4 of ^^ i^^ch shorter than collar is deep, 
but in cutting off the lengths allow sufficient to finish 
the ends of the bones with the casing. This is done by 
slipping the casing back at each end and cutting the 
bone off until the required length. The set nearest the 
front will need to be cut sloping instead of straight as 
the tops tilt toward the back and the edges should be 
parallel with the edges of stock. As the bones are cut, 
overcast the ends very securely if the gros grain or 
taffeta covered ; or wind the ends very tightly with the 
thread if it is the silk woven collarbone for unless they 
are done so the ends of the bone will soon poke out. 
When the bone ends are finished and the stock is ready 
for them, tack into position firmly at the ends and along 
the sides, but so the stitches will not be visible on the 

Page Fifteen 



right side. A neat finish for the turned back edges, 
also the ends of the collarbone is the silk seam bind- 
ing. Fell one edge of it close to the edge of the stock 
all the way around, tacking the other edge to the bones 
only or in such other places as the stitches will not be 
seen from the right side. Put this finish on quite loose- 
ly or it will draw the stock. 

For a collar which is to be laundered often, the 
most practical way is to use the featherbone in a little 
casing so that it may be slipped out each time it is 
laundered. Featherbone in this form can be gotten at 
the dry goods stores. The ready covered wash feather- 
bone, however, is satisfactory for collars which it will 
be necessary to launder only occasionally. 

The stock in F, Fig. 525, is made of net with a 
narrow silk bow. The design can be outlined in small 
beads, and the flowers afterward filled in with a differ- 
ent size bead. A transfer pattern may be used for this. 
For mounting, line the collar with two ply mousseline 
de sole or plain net and finish the top with a net plait- 
ing; neck lengths of this can be bought ready made at 
the stores at small cost. The bow consists of four loops 
and five ends, it will be observed. Three of the ends 
are to be cut 7 inches long by li/j wide, 
and the remaining ends 5 inches long by 11/^ 
inches wide. Run all of these pieces length- 
wise on the wrong side and then turn. Gather one end 
of each and attach beads of different sizes to this end. 
Take the upper ends together and cover them with the 
small bow as indicated. If this idea is carried out in 
black net use jet, colored and pearl beads with white 
net and a bow of silk of the predominating color in the 
beads. The design in this stock might also be used for 
a wash collar and carried out in satin-stitch or eyelet 
Page Sixteen 



embroidery with a tab to match. The ready embroid- 
ered net may be very quickly and effectively worked up 
with beads and spangles. On the larger embroidered 
circles or flower designs place both a spangle and bead, 
and a bead only on the smaller ones. Put the spangle 
on the threaded needle first, then the bead and carry it 
back through the spangle and fasten on the underside. 
In embroidering or beading net baste it smoothly on 
paper as has already been described in a previous les- 
son. They may be finished on the right side along the 
edges with one of the lace Duchess braids and in this 
case in preparing the stock turn the raw edges to the 
right side and they will then be covered with braid. 
Some of these collars are finished along the lower edge 
with a fringe of beads or silk, or with a plaiting, which 
forms a shallow yoke effect. In some it is an even dis- 
tance from base of stock while in others it is longer 
in front. 

The stock and tie in M, Fig. 525, is a tailored de- 
sign and may be made of any wash material such as 
linen, pique, etc., and ornamented with pearl buttons. 
It might also be made of silk or satin and tiny gold but- 
tons or jewels used to ornament it. Make the stock by 
instructions given in Lesson 6. The tie is made from 
two strips I5V2 to 16 inches long for an average length, 
and 2 to 2% inches wide at the widest part. Make a 
pattern of the tie before cutting the material. For one 
of average size take a double fold of paper 15 inches 
long and 2% inches wide pinned together. Meas- 
ure up from the bottom 9 inches and at this point 
make a dot % of an inch, or an equal amount, 
from either edge. The distance between the dots will 
be the width of the tie near the center front, or 1% 

Page Seventeen 



inches in this case. Draw a line from each 
dot to either edge at the bottom and cut along the lines 
to the dots. Take out the pins holding the two thick- 
nesses of paper as far as the dots, hold in the left hand 
so that the bottom of pattern will come at the right 
hand. Turn the top thickness of paper over at the 
upper dot so that the edge which was at the top will 
fall on or a trifle to the left of the lower dot. Holding 
in this position, crease along the fold. Likewise turn 
the other portion back holding the bottom and side 
edges exactly together and crease on the fold. 

Next, take the stock pattern and, after ascertain- 
ing the difference in its width and the tie at its nar- 
rowest point, measure down in several places from the 
top edge of stock and connect the points in a smooth 
line. Then, place the parts of the tie pattern together 
so that the folded edges cross as shown in the illustra- 
tion and pin securely in place along the stock, seeing 
that the line just referred to made on the stock pattern 
will come on the under side. Next trace along this line 
and the lower edge of stock and then cut the remainder 
of the tie portions along the tracing. Cut the lower 
edges slanting and the upper tab a little shorter than 
the lower one. 

Cut stock and tie according to the pattern, leaving 
allowance as necessary for the finish. The raw edges 
of the tie portions may be bound either in the same 
shade or a colored tie in white or vice versa. Also, if 
the stock is to be unlined bind it too. The lower edge of 
the stock and tie portions which join it may be finished 
by making a seam allowance on both then turning seam 
edges so they will come in between the stock and tie 
and stitch. Where the tie is not bound make a seam 
allowance on all edges, line the tab portions of tie and 
Page Eighteen 



turn the other edges down on stock and stitch. This 
will necessitate clipping the width of seam at the folds 
in tie portions. Sew the buttons in place and bone and 
line the stock. If the material of which the tie is made 
is not reversible then it will be necessary to seam it 
where it turns back at center front. 

Other similar models will suggest themselves to 
you. 

Collar and cuff sets, if made of correct material, 
always provide an attractive finishing touch. The 
"correct material" will depend on the dress or coat 
with which the set is worn. That is, with gowns of soft 
or filmy material, sets of the finer laces, embroidery, 
nets, etc., would be appropriate; velvet, satin, 
silk, etc., with cloth dresses as well as some of those 
already mentioned, while with tailored waists and 
suits, those heavier in appearance and clear cut in out- 
line should be used. The collars on the order of the 
ones shown in A and L, Fig. 525, with cuffs to match 
are of the first type referred to, the collar in C of the 
same figure, with cuff to match, also set in Fig. 382 
for tailored waists, and that in Figs. 438 and 439 and 
similar ones in heavy embroidery, braiding, etc., for 
suits. 

The use of the fichu makes the planning of a dainty 
dress a simple matter, since it often forms the prin- 
cipal trimming and by its addition the desired effect is 
gained with little labor. It may be of the simplest 
fashioning, but nothing devised for feminine adorn- 
ment ever lost its beauty and charm quite so hopelessly 
as the fichu by coarse treatment. The smart fichu must 
be of good material. 

They vary greatly in shape and a pattern may be 
easily made by outlining the fichu on plain shirt waist 

Page Nineteen 




Fig, 



draft or adjusting a large circular paper form over the 
shoulders and pinning it in here and there to fit the form 
and then cut the lower edge and 
neck opening as desired. Fig. 526 
combines the broad collar in the 
back with the shawl-shaped fichu 
in the front. First make a sailor 
collar pattern for the foundation, 
and make this part of the fichu; 
take straight strips of the material 
the width of the lower part of the 
collar in front plus the allowance 
for plaits and as long as desired. 
Lay in the plaits, join to the collar 
portion, shape the ends and finish 
the edges to suit the taste. This model may be>made in 
sheer linen, cotton voile, foulard, chiffon, bobinet, point 
d' Esprit, etc., bordered by plaited frills or lace would 
be suitable with most material. For a person of med- 
ium size this design will require 11/8 yards of twenty- 
seven inch, or % of a yard of thirty-six inch material. 

The material used will depend upon the dress or 
waist with which the fichu is to be worn. For wearing 
over silk dresses the fichu is almost invariably of chif- 
fon. For a dress of marquisette, a lace fichu is better, 
while a fichu of sheer linen, batiste, etc., edged with 
lace or a ruffle of its own material for the many wash- 
dresses of organdie, pongee, and the like. 

The material and lines suitable for sashes was dis- 
cussed in Lesson 21 and as mentioned in that lesson 
additional finishings for top and bottom will now be 
given. 

The sash in the first illustration in Fig. 423 of 
Page Twenty 



Lesson 21 is finished in fringe and the one in third il- 
lustration with tassels. Sometimes the knotted fringe 
is applied directly to the hemmed ends of the sash and 
then again a crocheted heading is worked right into 
the hem. It would take too long to go into details of 
crocheting but to those who understand this art it will 
be most simple. Fasten one end of the crochet silk 
(which may be either in the same or contrasting shade 
with the sash) make a chain of five, make a treble 
stitch a little more than a quarter of an inch from the 
starting point, two chains, one treble stitch and repeat 
to the end. Now work seven chains and turn work ; 
one double crochet in first hole, five chains, one double 
crochet in the next hole, repeat until there are four 
rows worked, turning each row with seven chains. 

Wrap the silk for the fringe around a book about 
five inches wide, and cut where the book opens. This 
will make all the strands one length. Ten of these are 
worked into every other hole along the crocheted edge. 
First place the crochet hook into the hole to receive the 
strands, fold in half, and hold the loop formed upwards 
in the left hand between the first and second finger. 
The loop is then drawn through the hole with a single 
chain stitch pulled very tight. When this is done, di- 
vide each strand in half and tie the two halves together 
in a single knot. That is, coil one set of strands around 
the other. After the second knotting is completed, 
comb the frmge straight on a table and trim even with 
sharp scissors. 

It requires practice to make these knots evenly. 
It will be a great help to pin the head of the fringe 
firmly to a heavy cushion, while you are knotting the 
fringe. For more dressy occasions a pattern in bead- 
ing or embroidery might be marked above the fringe. 

Page Twenty-One 



(see Fig. 527) . One in pale blue satin would be beauti- 
ful embroidered in gold or one in. pink in the same tone 
of green. 

When using fringe without the chocheted heading 
the book or card about which the silk is wound should 




Fig. 527 

be perhaps an inch wider than one wants the finished 
fringe to be, to allow for the knotting. Three or four 
strands of silk will give a medium weight fringe, and 
the loops might be placed not more than half an inch 
apart. 

The crisscross effect seen in fringe is obtained by 
Page Twenty-Two 



knotting together in the ordinary tie knot half the 

strands of one bunch 

with half those of the 

bunch next to it. As 

many rows of these 

knots may be made as 

wished but usually there 

are simply two beside 

the row in the material. 

It will require four 
yards of six inch ribbon 
and two spools of chochet 
silk for sash, the lower 
part and rosette of 
which are shown in Fig. 
528. First cut off thai 
girdle, not forgetting toj 
allow an inch or so fori 
the boning and finish.'' 
Eighteen to twenty in- 
ches of plaiting is re- 
quired. Therefore, take 
a twenty-seven to thirty- 
inch length, cut it in the 
center, join and plait. 
Make a round foundation 
of buckram about 2l^ 
inches across and cover 
with ribbon. Cut back from the finished edge of the 
plaiting II4 inches and stitch along the raw edge with 
a loose tension, draw up sufficiently to set easily around 
the covered circle. Baste on so that % of an inch of 
the plaiting will extend beyond the edge of circle and 

Page Twenty-Three 




Fig. 528 



so that the raw edge of plaiting will come on the un- 
finished side of circle and stitch. Then gather, baste 
and stitch the second row of plaiting further in on the 
circle so that its outer edge will come about % 
of an inch from the first row. Cover another circle of 
buckram 11/4 inches across with ribbon, and slip- 
stitch it on to the center of the rosette. 

The ends of the sash in Fig. 528 are first finished 
in a one inch hem and in this, work the foundation row 
of crocheting as desired for sash in Fig. 527. After 
working first row, turn, work two double crochet into 
the first loop, chain five, one double crochet into the 
next loop. Repeat until within one hole of the center. 
Turn. Repeat each row, making one loop less each 
time, forming a point when finished. Begin the second 
section of the trimming the same distance from the 
center as the other and work this second point in the 
same way as the first, being sure to make the same 
number of loops as on the first row, so that both po'its 
will work out the same size. For each tassel cut about 
sixty^five strands of silk ten inches long. Tie them to- 
gether in the center with a piece of silk, wrapping 
around several times before knotting. Fold the strands 
in half. Tie again one inch from the top, wrapping 
the silk around several times before knotting as be- 
fore. Crochet around this second tying string fifteen 
double chochet and work double crochet around in 
each stitch to the top of the tassel. Then work in every 
other as shown in illustration. 

Fold the length with the finished ends so that one 
end will be longer than the other (see illustration) and 
tie two knots — one six or seven inches from the waist- 
line and another about half the distance from waist- 
line to bottom of longest end. 
Page Twenty-Four 



The upper ends of the sash 
are sewed in place separately, 
one close to the right side of 
closing and the other four inches 
away. The rosette is sewed on 
in the space between the two 
sash ends, the edge of the rosette 
just covering the closing. 

The ends of the sash in Fig. 
529 also will require about four 
yards of six-inch ribbon and 
twenty-four yards of soutache 
braid in color to match. The 
balls may be made similar to the 
lower one in D, Fig. 522, those 
in I, Fig. 525, etc. Tie the eight 
balls into four parts, then bunch 
all together, hanging various 
lengths, and tie the ends to- 
gether. Gather the sash ends 
in a one inch heading, draw up 
tightly and stitch the drop orna- 
ment in the center of the gather- 
ing, with the top knot of the 
pairs inside which helps to hold 
it firmly. About twenty inches 
from the hem in one end, fold a 
loop eight inches deep. Gather 
the ribbon at top of loop; stitch 
securely. Place both sash ends 
together, the loop end hanging 
an inch and a half longer than 
the other. Tie the two ends to- 
gether with one knot on top of 
Page Twenty-Five 

Fig. 529 



the loop. Cut the sash ends the length required. Then 
cut the girdle, allowing for boning and the finish. 

For the rosette, cut seven pieces of ribbon three 
inches long. Fold, wrong side out, each piece to form 
a square. Join the double raw edge along one side and 
turn th-e point formed right side out, placing the seam 
in center of the back, trim off evenly at the wider edge 
and gather. Arrange the seven pieces on the back of 
a button mold, which has been covered with ribbon. 
To make the soutache in the center, fold a piece of 
note paper one inch wide in six thicknesses, and with 
a large steel crochet hook make one chain of soutache, 
hold the folded paper in the left hand, bring the braid 
around the paper from the front and make one chain at 
the top. Work twenty loops in this way. Turn and 
crochet a double crochet into each stitch, taking up 
both loops of chain-stitch and in this way all the loops 
are secured. Draw the paper out, join the ends to- 
gether making a ring, and place this braid rosette with 
slip-stitches on the center of the silk rosette. (See Fig. 
529). 

The scarf is a charming accessory that adds grace 
of line to many a costume that might otherwise be 
common-place. The scarf of chiffon or lace which has 
long since been an addition to the summer dress or 
the evening gown has evolved into the more substantial 
one of satin, or velvet and sometimes it is made with 
a fur edge for fall and winter. French frocks are 
made with a matching or artistically contrasting scarf. 
Sometimes the scarf is the same color of silk or satin 
as the gown with which it is worn and lined with white 
or a harmonizing color. Persian silk is a novelty for 
a lining and when a particularly dressy effect is de- 
sired, the lining may be veiled with chiffon. 
Page Twenty-Six 



The majority of scarfs are of black lined with 
white and are usually arranged around the neck so that 
the white lining shows, offering relief to the black. 
This combination is the most practical as it can be 
worn with 'any suit or gown. If preferred, however, a 
color may be selected either for the scarf or the lining. 
Some are very effective when the lining matches the 
hat, both being in contrast to the gown, when it is a 
season in which the one color idea does not prevail in 
costume and hat. For instance a black chiffon broad- 
cloth or French serge street dress could be set off most 
effectively by a purple lined satin scarf and a purple 
velvet and satin hat. 

To line a scarf, where the lining and outside are 
the same width, lay the right sides together very evenly 
and stitch a % inch seam along the edges, 
but leaving an opening of about nine inches in the cen- 
ter of the scarf edge through which to turn it right s^'dy 
out. The opening is afterward slip-stitched together. 
Baste carefully around the outside edge working the 
seam out as one proceeds so that it will come exactly 
at the edge. Bastings should be made about l^ of an 
inch from the edge, and the scarf edges lightly pressed 
under a thin, dry cloth. 

Three yards long and eighteen inches wide are the 
usual measurements of the satin scarf. Some women 
who are not very tall make them 2V2 yards 
long. These scarfs are twisted about the neck in such 
a way as to allow one end to hang in front below the 
waist, rnd the other end in the back in the same way 
that fur stoles are worn in the winter. They may be 
worn in the afternoon over a silk or other dressy gown, 
or at any time during the day with a tailor-made suit. 

Ermine and swansdown are exquisite for white 

Page Twenty-Seven 



satin, chiffon, lace and similar dainty scarfs for even- 
ing or for very formal and elaborate gowns for theatre 
and receptions. 

A delightfully shimmering and irridescent effect 
is produced by several layers of chiffon of different 
tones, such as gold, delicate blue, shell pink and per- 
haps a pea green ; with a border of ermine or swans- 
down is irresistible. 

The scarfs of chiffon, net and gauzy crepe de Chine 
are studded over with gold, silver, steel and colored 
beads and a deep fringe is formed of them. 

Many less expensive yet attractive scarfs are of 
bordered crepe de Chine and chiffon, which comes es- 
pecially for this purpose and sells by the yard. The 
borders are of dainty colors and designs as well as the 
rich Persian effects. This material ranges in price 
from a dollar up, and is the regulation scarf width, 18 
inches. 

Plain chiffon and sheer crepe de Chine in white, 
black and all delicate tints are used, being made with 
plain hemstitched hems. 

The scarf of velvet and fur is shaped quite differ- 
ently from the ordinary, having a deep point in the 
back, the front sloping away into large pointed ends 
finished with a tassel. Of course, any combination of 
fur, velvet or satin may be used and a muff may be 
made to accompany the scarf and it may have a wide 
strip of the contrasting material in the center, if pre- 
ferred. The lining of the muff should be of some dur- 
able lining satin and should be the color of the fur or 
tone in with it. Fur, either as a trimming or as a ma- 
terial for the scarf, raises it from a merely graceful 
accessory to a valuable garment that affords comfort 
and protection. Therefore, the larger scarf readily 
Page Twenty-Eight 



commends itself to the woman who can not afford an 
expensive set of furs, yet desires the finish of fur about 
her shoulders and the soft becomingness that it can 
give. Fur can be obtained in bands for trimming, the 
cost depending upon the kind of fur and the width of 
the bands. 

For the scarf intended for warmth, it is better to 
have an interlining of flannel or a similar fabric being 
careful that whatever is used for th^s purpose is soft 
and pliant. 

The sash end shown in Fig. 424, Lesson 21, would 
be quite as appropriate for a scarf end. Again they ma> 
be shirred into a heading as shown in Fig. 529 and fin- 
ished with a tassel, or one end might be finished in 
either of the ways just mentioned and the other end 
in silk fringe as in Fig. 527. A double shirred end may 
be made by putting three rows of shirring with a 
1/2 inch space between each, and a 21/2 inch hem on the 
end. Then about six inches from these shirrings is 
another cluster of three shirrings the same as the first 
and drawn up closely. When these shirrings are 
drawn up closely they form a full heading and lend 
weight to the ends. As a matter of fact the outside and 
lining are cut alike and seamed together around one 
end as well as the edges in this case. One end is left 
open for the turning of scarf and then slip-stitched. 

Hair ornaments and bandeaux will be given short- 
ly under the sub-heading, "Accessories for the Bride 
and Graduate." 

So many fascinating varieties of hand-bags are 
shown that individual taste is all that is necessary, if 
the amount of expenditure be at hand, for always the 
beautiful and desirable articles come high, especially 

Page Twenty-Nine 



if they be novelties. There are shopping bags, party 
bags, opera bags and hand bags in general. A hand- 
bag of some description is a very indispensable part of 
an outdoor toilette. It is needed to hold the purse, 
handkerchief, shopping list and car tickets, one or the 
other of which is sure to be needed whenever one goes 
on the street. 

Leathers of different varieties we have always 
with us, and very practical and sensible they are, but 
there comes a temptation now and then to get away 
irom the practical side of things and indulge our fancy 
in bags a little more ornate than the sensible tailor- 
mades. 

The black velvet bag with fancy metal top sus- 
pended by black silk cord hangers of various lengths 
has been popular, and make a pretty bag for use with 
dressy costumes for afternoon calling and shopping. 
The latest fancy is to ornament these bags with silk 
embroidery in different pretty color combinations. For 
instance, three shades each of rose pink and green 
might be used. The flowers may be conventional done 
in satin-stitch, with shades of dull rose combined with 
sprays and scrolls in green and yellow dots. A diagram 
showing placement of color is usually furnished with 
each transfer pattern. The embroidery pattern is ar- 
ranged only on one side of the bag. The bag may be 
perfectly plain trimmed at the bottom with black che- 
nille fringe. It may, also be decorated with beads, bits 
of applied brocade, or with one's monogram, as pre- 
ferred. The latter gives a personal touch that is pleas- 
ing, and the bag itself is exactly what is needed to 
complete a charming costume. The bag may be square, 
oblong or round, according to one's fancy or the 
amount, size and shape of pieces that must be utilized 
Page Thirty 



in fashioning it. Line it with satin matching the vel- 
vet or of a contrastng shade and if a mounting is not 
used a casing may be applied near the top and a draw- 
ing string of silk cord run in. This cord should be 
long enough to go easily over the arm. 

Metallic gauze or cloth heavily embroidered in met- 
allic thread and mounted in metal makes a very hand- 
some and serviceable bag for dress occasions and 
colored silk in the Persian effects or embroidered in 
metallic thread and mounted in metal is exceedingly 
smart. Some of these bags are of silk in delicate color- 
ing with festoons of tiny flower garlands appliqued 
upon the silk. In the bottom of the bag is set a little 
round mirror — an extremely handy thing as much 
more easily and unobtrusively consulted than a chate- 
laine or purse mirror. A pretty bag of this kind is one 
of gold color, with its wee garlands in soft dull blue, 
rose and green, the dull gold of the draw string re- 
peating the tone of the silk and the lining is of dull blue. 

For the summer, there are charming embroidered 
hand-bags to be worn with light colored and with tub 
dresses. Those of pongee and raffia cloth are exceed- 
ingly good, and more appropriate than any others if 
the gown or long coat be made of pongee. Then there 
are those of pique, linen, tapestry, and the gay little 
striped cotton bags, too, with narrow stripes of blue 
^and white, rose and white, lavender and white, etc. 
with formal little floral sprigs scattered over the 
striped ground. 

It is such a convenience to be able to secure hand 
bags already niounted in metal tops, for the embroidery 
or decoration takes but little time and then the bag is 
ready for use, without going to further trouble and 
expense. 

Page Thirty-One 



The linen bags are in the shops in a profusion of 
designs — stamped ready to work, already mounted and 
lined. The lining is left open at the bottom so that the 
worker can turn it up and get to the design to be em- 
broidered. After this is done the lining is whipped to- 
gether neatly. Although these bags are furnished in 




Figr. 530 

tan linen only, this color goes well with any costume, 
and it has the advantage of not soiling easily and dif- 
ferent color schemes may be carried out in the em- 
broidery. Sometimes a number of tones are used to 
give the proper effects, and yet if one wisnes a simpler 
color scheme she may readily substitute her own choice 
01 colors for those offered. White with any one color, 
or tan with another color will give pleasing results, or 
the entire design may be worked in the same color as 
Page Thirty-Two 



the linen. The outline, stem and satin-stitch are those 
chiefly employed. 

The bag shown in Fig. 530 is embroidered in the 
same design as that shown in C and G, Fig. 525 and 
the tie in Fig* 407 in Lesson 20 and are intended to 
be worn at the same time. Any other design may be 
substituted to suit the taste. This oag is finished at the 
top with scallops and slits for the draw-ribbon or cord 
are buttonholed from 2 to 2V2 inches from the top. 

There is nothing in the way of trimming that adds 
freshness to a gown like ribbon bows, flowers and fur- 
belows and as these charming accessories make heavy 
inroads in one's purse the deft-fingered woman will 
appreciate the ability to make them at home. 

Ribbons and bows are never out of fashion but 
some seasons they are more prominent than at others 
and all shapes and sizes are used, the character of ar- 
rangement being designed suitably for its purpose and 
wear. 

The fabric and design enter largely into the com- 
position of well-made bows. They must be in harmony. 
The fitness of certain ribbons and material for certain 
effects must be considered. For instance, a buoyant 
bow of crisp taffeta is not to be attempted in soft mes- 
Saline. Heavy materials in rich deep lustres suitable 
for elderly wear are decidedly out of place in pert little 
bows used for children. 

Ribbon dress accessories are almost innumerable. 
There is ribbon neckwear, belts, girdles, sashes, large 
soft rosettes, a variety of sash bows, bandeaux, ribbon 
flowers for hats, coiffures and as girdle fastenings, etc. 
Many of these have already been discussed. 

To be a successful bow-maker one should practice 
until able to give expression to bows. Do not handle 

Page Thirty-Three 



ribbons any more than necessary for it must be kept 
fresh and dainty in appearance. Be sure you know 
just what kind of a bow you are going to make before 
taking the ribbon in your hands. Ribbon creases easily 
and frequent steamings and pressings take all the 
crispness out of it. The amateur bow-maker in no 
case should attempt bow-making with the ribbon or 
material she intends for the ultimate effort. Practice 
either with old ribbon or with cambric cut into strips. 
Cotton tarlatan is another good material on which to 
practice. Tissue paper is also frequently used. 

Do not be satisfied with your first attempts. You 
will be surprised at your results as your practice con- 
tinues. Always hold the ribbon in the left hand, using 
the right hand to manipulate it. Pull the ends and 
loops of the bow out sharply, placing the forefinger in 
each loop as it is pulled out. This will make them stand 
erect and have the appearance as if they were grow- 
ing from the root. The common center at which all 
ends and loops meet is known as the root, base or heart. 

Each loop must have the appearance of finishing 




Fig. 

at the root and the fold of each loop should be round 
and not sharp in outline. The most important point to 
Page Thirty-Four 



remember in bow-making is that the ribbon must in- 
variably be taken from left to right, or vice versa, and 
the loops made alternately. If this is not done, two or 
more loops may be made on the right or on the left 
side before one on alternate side is made and the bow 
when completed and the last end knotted around the 
center, the loops will come out and lose the original 
form intended for them. The sewed bow is easiest for 
the beginner, and short lengths or scraps of ribbon may 
be used in constructing it. A loop may be flat, but is 
usually plaited or gathered at its base. Fig. 531 de- 
picts the plaiting of a sewed bow. To plait, hold the 
ribbon at one edge between the thumb and first and 
second finger of the left hand while with the same fin- 
gers of the right hand lay the ribbon in a succession 
of narrow plaits across its entire width at this point. 
Each time you lay a plait allow it to cover the preced- 
ing one and hold in place with the left hand while the 
threaded needle is carried through the edge of the rib- 
bon opposite the point where you began plaiting and 
wind the thread about the ribbon at this point several 
times. Finally fasten it with two or three buttonhole 
stitches. 

Where the length of the ribbon will permit, the 
ribbon may be plaited as far from one end as the ends 
of bow are to be. 

Where a group of loops is desired it is not neces- 
sary to cut the ribbon in forming the loops. The rib- 
bon is plaited at a point sufficiently distant from the 
first end plaited to give the length of loops desired. 

One may calculate the amount of ribbon neces- 
sary for a bow by measuring the depth of the loops 
and the lengths of the ends in the bow to be copied, 

Page Thirty-Five 



and adding to these the requisite amount for the knot 
at the heart. 

The rosette illustrated at A in Fig. 532 is a nov- 
elty evolved from the sunflower. It is formed of 
small petals made of satin two to three inches in diam- 




F!g. 532 

eter, folded in half and gathered on the raw edge, as 
shown in B. These petals are sewed to a foundation 
circle of buckram two or three inches in diameter 
wired at the edge. (See D, Fig. 532) . They are sewed 
in regular rows beginning at the outer edge, and com- 
pleted with small satin balls at the center, stuffed with 
cotton wadding. Long pointed sections of wired buck- 
Page Thirty-Six 



ram or capenet (see C, Fig. 532) covered with plain 
satin giving- the suggestion of leaves are set under the 
rosette. The size of the flower will depend on the pur- 
pose for which it is to be used. Circles for petals and 
buckram foundation two inches in diameter would be 
ample for a sash rosette or three inches for a hat trim- 
ming with leaves in proportion, that is, the length from 




Fig. 533 

point to point equal one-fourth more than the diameter 
of the circles. 

The rosette shown in Fig. 533 is made by scallop- 
ing one short and one long edge of the ribbon. To do 
this, take a needle of self-colored silk, use a fine run- 
Page Thirty-Seven 



ning stitch, forming a succession of triangles, their 
upper and lower points being one inch apart, the lower 
points oeing one-half incn from the edge Ox the ribbon. 
(See illustration). When the thread is slightly drawn, 
the satin will pucker into tiny, graceful scallops. 

Next gather with fine running-stitches straight 
along the otner edge of the ribbon. Draw thread until 
the length of ribbon is reduced one-eighth. Fasten off, 
tnen coil into a rosette with the short scalloped edge at 
the center. Tack the coils lightly at the edge, also the 
raw short edge. The width and length of ribbon will 
depend upon the size of the rosette. For a girdle it 
will probably require two yards of ribbon from two to 
tnree inches wide or a rosette for slippers will require 
V2 yard of inch ribbon, making the rosette from 2 to 
21/^ inches in diameter. 



Page Thirty-Eight 



LESSON No. 28 



Clje Slmerican ^gstem 
of ®res0mafeinB 

TAUGHT ONLY BY THE 

American College of Dressmaking 
Kansas City, Mo. 

MISS PEARL MERWIN, Supervisor. 

LESSON NO. 28 

RIBBON FLOWERS. 

There is nothing in the way of dress accessories 
or decoration which will give such pleasing results at 
so small an outlay of time or money as the making of 
the pretty ribbon flowers. No artificial flowers, im- 
ported or otherwise, have ever looked as real as these 
ribbon affairs, which are evolved from many-hued silks 
and satins, which give just the right luster, and which 
exhale just the right odor, if perfumed with the delicate 
scent of the blossom they represent. 

Like most things, it is very simple work when 
you know how and when once a few simple funda- 
ments are understood the pretty ribbon flowers bloom 
very rapidly. The best education is observation and 
study. After practicing the flowers given, others can 
be easily made by studying and copying the natural 
flowers. 

No elaborate paraphernalia is required aside from 
the ribbons themselves, stamens, calyx, culots (seed 
cups), foliage, (if leaves are desired) rubber stems and 
spraying wire. In purchasing the ribbon for this pur- 
pose it is always best to buy a fairly good quality, as 
the cheaper grades do not give satisfaction. The other 
articles can generally be found at the favor or arti- 

Page Three 



ficial flower counter of any good department store, and 
in many of the smaller towns the stationery stores 
carry them. Seed cups and calyx come in assorted 
sizes, the prices usually range from 4 to 10c a dozen 
while the stems and daisy centers are as a rule about 
10c a dozen, rubber stems 3c each and spraying wire 
4c a spool. 

The violet garniture is always popular and cer- 
tainly nothing could be more beautiful. The quantity 
of material required will depend on the size of the 
bunch desired. The width of the ribbon will also de- 
pend somewhat on the size of the bunch, the No. 2 being 
used for the smaller and No. 3 for the larger bunches. 
To make bunch of average size will require two pieces 
01 No. 3 satin taffeta ribbon or say 40 yards No. 2 (in 
four bolts) in different shades of violet, one spool of 
green tie wire, one cluster of violet foliage and violet 
color silk thread. Cut the No. 3 rib- 
bon in from six to ten inch lengths 
i '' ^fv^ according to the number of loops in 
\v^ n I each flower, (see A, Fig. 534), and 

twist each length as shown in B of 
Fig. 534. Fasten each end by wind- 
ing it with silk thread the same color. 
Hold one end of the twisted ribbon 
firmly between fore-finger and thumb 
of left hand, using right hand to 
Pig. 534 form four to six loops, about % 

of ^n inch long by winding them back and forth around 
the first and second finger. Tie a knot before releasing 
the loops by bringing the ribbon down in front, hold 
down with thumb of the left hand, take the ribbon 
across the center to the back, carry it through the loop 
thus formed and draw up tight. (See C in Fig. 534). 
Page Four 




Some will twist the ribbon a little more than others 
and also make a difference in the length of loops to 
some extent, therefore, it is best before cutting more 
than one length to make a flower of whatever number 
of petals one prefers — or it is a good idea to vary the 
number from 4 to 6 and then undo the flower and 
measure the length and cut the ribbon accordingly. 

When using No. 2 ribbon it need not be twisted 
before using. The loops are made in the way just de- 
scribed except that each loop is given a twist at the 
center. 

After the loops are made, cut some lengths of the 
wire from five to eight inches long- and turn one end 
of the wire over center of bow-knot to form a loop and 
twist wire so as to hold ribbon firmly. Make as many 
of these flowers as wished, then bunch and tie. The 
cluster is arranged as one would arrange a bunch of 
the natural flowers. The life-like effect is greatly en- 
hanced by introducing five or six artificial violet 
leaves, placing them at the base and concealing the 
wires with one-half yard of olive g'reen satin ribbon 
No. 5 wound around all the stems, which are bound to- 
gether in this way, just as one would wrap stems of 
the natural flowers. This is a very pretty corsage 
bouquet, or it can be worn pinned to the coat or in tiie 
hair. When scented with a delicate violet perfume it 
possesses the good decorative points of the natural 
bouquet and does not wither. 

Sometimes the cluster is finished with hanging 
loops and ends of violet velvet, satin-faced ribbon. 
Other ribbon may, of course, be substituted. 

To make a wreath of forgct-me-7iots use a bolt (10 
yards) of No. 1 messaline ribbon, skein of green fillo- 
selle, suitable foliage — maiden-hair fern being the 

Page Five 



prettiest — tie wire and green tubing. Measure off two 
dozen lengths of tie wire five inches long and slip a 
pink bead or make a pink silk knot on the double mid- 
dle of each wire. Make a tight knot V2 ii^ch from the 
end of the ribbon and repeat the knots every 
% inch space until there are four. Make four 
loops to each flower by folding the % inch 
lengths in a cross, having a knot come at the- fold 
of each loop. This allows about six inches to a flower. 
Pass the middle of wire loop with bead over the center 
or knot around the loop, and twist underneath. Secure 
the two cut ends with the green silk, beginning and 
ending with a tie at the end of the stem. Continue in 
this way until a sufficient number of flowers have been 
made. The ribbon should never be twisted as in the 
violet. 

Buds are made by tying the ribbon in a knot on the 
loop, twisting it down and over the wire to a depth of 
one-half inch, then finishing with the green silk. Tie 
flowers, buds and foliage in a pretty grouping on a 
firm green wire, with green silk or tie wire, laying on 
one at a time, tying neatly and firmly. 

To make daisies use either No. II/2 or No. 2 white 
or yellow satin ribbon, a bunch of foliage, or fern, 
scraps of buckram and the yellow centers (on wire) 

(see A in Fig. 535) . 
It requires about 
% of a yard of rib- 
bon for each daisy. 
Cut ribbon into 214 
inch lengths and 
form the petals by 
knotting each piece 
in the center. (See 
B Fig. 535). Next 
Page Six 




form the petals by wrapping with thread V4 of an inch 
from the ends. (See C, Fig. 535) . Cut a disk of buckram 
a trifle less than I/2 inch in diameter, sew petals 
around this disk, (see D Fig. 535), punch a hole with 
stiletto or scissors in center of disk and insert daisy 
center. Before putting in the center, paste a piece of 
green ribbon or paper on under side of disk to conceal 
buckram. 

Though white is the preferred color for daisies, 
lavender, light blue, delicate pink may be substituted 
to match the gown on which they are to be used. 

Wild roses may be made from soft ribbon but 
messaline by the yard is much less expensive and quite 
as satisfactory. The petals are cut so that the outer 
edge will be on the bias. Cut the ribbon or silk into 
squares from 3 to 4 inches large, depending on the size 




Fig. 536 

of the rose desired. In the silk, as well as the ribbon, 
the edges of -the square must be on a straight thread 
of the material. Fold the square so that the opposite 
corners will meet which will make the folded edge on 
the bias as intended. Fig. 536 shows the actual size 
of petal between three and four inches. After cutting 

Page Seven 



and folding the square so that the petals will be double, 
run fine stitches in a semi-circle as shown in the illus- 
tration and trim away the surplus, and draw up tight, 
making a petal as shown at A in Fig. 537. To make a 
bud cut square, fold, gather and draw up exactly the 
same as for a petal, then fasten one side over the 
other as shown at B in Fig. 537. 

Make five petals for each rose. Lap each over 
the preceding one to about half its width and fasten 




Fig. .537 



all together except the first to the fifth, (see C Fig. 
537), then place the petals around the stamens and 
sew firmly under the stamens. Use two or more sta- 
Page Eight 



mens as desired — according to the .size of the rose. 
Next draw the green calyx up under the petals and 
fasten with a tiny stitch of green silk or use a touch 
of glue, adjust seed cup and turn the wires of the bunch 
of stamens around once to prevent cup from slipping. 
The buds are made in the same way with the omission 
of the stamens. 

For foliage one can buy the stems with leaves and 
stamens and while it simplifies matters somewhat the 
sprays will need to be separated and rearranged ac- 
cording to the purpose for which the spray is to be 
used. If it is to be a hair decoration, for instance, ar- 
range in a semi-wreath effect and make the roses 
smaller than for a corsage bouquet. 

One may use either pink or yellow silk in the mak- 
ing of these pretty roses, and even a delicate blue silk 
will not seem out of place, though we have yet to see a 
blue rose. A spray would be charming as a decoration 
on a child's hat, either black or white, of course; for 
summer wear these sprays may be used on straw or 
lingerie hats; also on young girls' evening gowns. A 
sheer white dress with a delicate pink underslip and 
pink satin roses would be lovely, or a yellow lining 
with roses to correspond would suit the brunette. A 
corsage decoration of either pink or yellow roses would 
be exquisite on a black lace gown. 

To make a rosette of rose-buds take two yards of 
No. 12 satin ribbon in any of the rose shades, or pale 
blue and lavendar are permissible ; leaf green satin rib- 
bon No. 12, green wire and scraps of buckram. 

Cut the ribbon for the buds into nine eight-inch 
lengths and fold each piece lengthwise through the 

Page Nine 




Fig. 538 



center. Catch 
one end with a 
loop of green 
wire, (see A in 
Fig. 538), and 
wind ribbon 
around it, (see B 
Fig. 538), until 
all has been used 
and tack the rib- 
bon invisibly. Do all the eight other pieces the same 
way and then join the buds together by twisting wire 
stems together and sewing at the back. Cut the buck- 
ram disk a little larger than a dollar, make leaves by 
cutting the leaf-green satin ribbon into strips three 
inches long. Fold these strips through the center 
crosswise, then find the center of the crosswise fold 
and turn both the upper corners over from this central 
point to the lower corners, then turn the corner which 
is uppermost back so that this last fold will mark the 
center of the leaf form, tack along the fold and gather 
at the bottom. (See C, Fig. 538). Sew nine or ten of 
these leaves around the buckram disk, cut out the cen- 
ter of the disk and slip in the bunch of rose buds and 
fasten by wire to the under side of disk. 

The making of double roses varies. Those who 
wish to imitate the natural rose will see at once that 
there must be a degree of difference in the shape of the 
petals and the method of putting them together in the 
different varieties. This difference is clearly shown in 
the illustrated clusters of the American Beauty and 
Marechal Niel roses in Fig. 539. In the first the roses 
are round and have many petals. The buds are also 
Page Ten 



full; in the second the roses and buds are much more 
slender and fewer petals in the roses. 

In making roses try to obtain ribbon or messaline 
silk in three shades as near the color of the rose to be 
imitated as possible, or at least in two shades, making 
those nearest the center darker than those near the 




Fig. 539 

outside. For instance m making the American Beauty, 
get the shade known as Jacque Rose, or as near it as 
possible. 

For the center of the rose, cut upon the bias, 
folded, a strip of the darkest shade 6 inches long and 
11/^ inches wide, having the fold at the top. Crease at 
intervals of II/2 inches. Leaving the strip folded, 
gather the ends and along the creases separately and 

Page Eleven 



draw up tight. Fold this around yellow stamens at- 
tached to a long stem. 

Three sizes of petals should be used in making this 
rose, all shaped like A in Fig. 540, and cut on the 
straight of the material. The inside row is smallest, 
the next row a little larger and the outer the largest 
of all. Cut enough in the smaller size in the two darker 
shades to make five petals, place the right shades of 
silk together, one light and one dark, stitch around 
edge as shown in A, Fig. 540. 

In nature the inside of a rose petal is darker than 
the outside but in ribbon work it is usually made the 
reverse so that when the inside of the petal is turned 
back to form the turnovers It will be lighter than the 
outside. The American Beauty is an exception, how- 
ever, to the general rule as the turnovers are not light, 
therefore, put the light side of the petals on the outside. 

Turn the petal, bringing the satin side out, and 
press the edge with a warm iron. Then run stitches 
across the straight edge, draw up tightly and fasten 
as in F, Fig. 538. 

Roll the edges at the top of the petals, where they 
are covered over, once or twice, and blind-stitch or 
glue down. Use a toothpick to put the glue under the 
roll, being very careful not to use too much, and press 
between the fingers a minute until it holds fast. After 
all the turnovers are fastened, take the smallest five 
and begin fastening one at a time around the center. 

The calyx, (see D, Fig. 538), is th^en placed over 
this and fastened to the rose with a drop of glue or a 
stitch or two of green silk, the whole is then placed in 
the seed pod, pulling the stem through the pod. The 
pod, (see E, Fig. 538), is held in place by twisting 
the wire around its base so that it looks like a knot. 
Page Twelve 



The petals of a La France rose are the same shape 
as the American Beauty, and the petals are made in 
much the same way, excepting the centers are made 
differently. For the La France make a ball foundation 
as in B, Fig. 540, by rolling up a piece of cotton about 
the size of an ordinary marble and attach securely to a 
long stem wire. Take a circular piece of tissue paper, 
fold over this cotton, plait the edges down to stem and 
fasten. Next take a circular piece of silk of the dark- 




Fig. 540 



est shade, place over the cotton and gather at the stem. 
When the petals are ready, take the five smaller ones 
and begin fastening them one at a time around the 
foundation upon the wire. Then tack with fine stitches 
near the top to close the petals in. Make the tacks very 

Page Thirteen 



fine so they will not show. Place the next size around 
and tack in the same way. Some of the last size may be 
tacked at the top and some m^y be left to turn back, 
as though about to fall off. In this and all roses where 
the turnover is lighter than the inside, which it almost 
invariably is, have the dark side of the petal out. 

The buds are made over a foundation like the rose 
except it is about the size of a small English walnut. 
After this foundation is prepared, put two or three 
petals around it, tack at the top and bring the calyx 
of green up on them and fasten with glue. 

The petals of the Marechal Niel are not so numer- 
ous as the American Beauty, it will be observed, from 
seven to ten being all that will be needed. For a 
medium size rose, cut the first row of petals the same 
as suggested for the second row, since there are to be 
fewer petals used, and shape them as shown in C, Fig. 
540. For a natural size rose the outside petals are made 
about 4 inches wide and 2% inches in height and the 
smaller ones V2 inch less each way. The size of the 
petals may be varied in the clusters according to one's 
taste and the purpose for which they are to be used, 
also the size of the petals in the roses in the same 
cluster should be varied. The smaller ones represen: 
those that have just come into bloom and are usuall:, 
nearest tne ends of the branches and buds. 

The buds are cut the same shape as the wild rose 
petals illustrated in Fig. 536, the material folded on the 
bias and each petal made double, 41/2 inches in length 
and 1% inches in height (for one of natural size) 
which is somewhat larger than the wild rose petal. 
Gather along the outer edges and shape as in D, Fig, 
540. One or more of these are used for a bud, accord- 
ing to the size desired. 
Page Fourteen 



Two or three of the bud petals may be used as a 
flower center. The flower petals are cut, made and put 
together as has already been described. 

Hat Pins, like every other article of dress and 
dress accessory, vary in style from time to time. Any 
of the designs given in Fig. 520 for embroidered but- 
tons are as appropriate for hat pins as for buttons. 
One may use for a foundation one of the imitation 
white pearl hat pins that are sold at the department 
store for five or ten cents. These come in a variety of 
shapes, are smoothly rounded on top and flat under- 
neath, thus forming admirable molds to be covered 
the same as a button mold. The material is cut larger 
than the top, whipped around the edge, then placed 
over the top so the embroidery comes in the center, and 
drawn up underneath where the thread is securely fas- 
tened. To finish neatly underneath, push the pin as 
far as it will go into a piece of the material used for 
the top, turn in the edges, and slip-stitch to the top 
cover just inside the under edge. 

Crocheted hat pins, of varying sizes add materially 
to the beauty of an embroidered hat and may be quickly 
made by those who understand crocheting. 

There are three main features to be considered in 
selecting or making an up-to-date parasol, that is, the 
general shape, the number of divisions and length of 
the handle. 

There are twenty-ribbed forms which have grace 
to recommend them and numerous others having four- 
teen, twelve and eight ribs. Some of the most exquisite 
conceptions are developed from the material of which 
the gown is made. Many may think that a hand-made 

Page Fifteen 



parasol is out of the question, but not so if one will set 
herself diligently about it. 

Remove the cover from an old parasol, and after 
pressing it carefully into shape, cut a pattern for the 
panel. This may be somewhat difficult to do, but per- 
serve until every thread lies in its proper position. Cut 
the new material by the pattern made, cutting each 
panel separately. Apply the design desired to one 
panel only, to each alternate panel, or to every panel, 
as you may choose, then stitch the panels together and 
hem the lower edge with a narrow hem, using a loose 
stitch. Arrange the cover over the frame, using an- 
other parasol as a guide. The center of the top may 
be finished off with a double ruche, a bow, or any other 
little conceit that the maker fancies. The handle, if 
dark, and the rod may be treated to several coats of 
enamel. 

The parasol should either match or harmonize with 
one's gown. Some of the materials most used are linen, 
pongee, pique, etc., etc. 

The decoration may be in embroidery, braiding, 
stenciling, etc. (See Fig. 541). 

Different kinds of buckles are much in evidence 
from time to time. Many of them are made of the 
same material as the gown, or when the gown is trim- 
med with silk or chiffon, the buckles are also made of 
the same material as the trimming. They are very 
elaborate for evening gowns where they are used to 
hold the drapery in place. These buckles are made of 
pearls and small agate beads, and match the trimming 
on the gown. Buckles of this description are often in- 
troduced to hold up a drapery on a skirt, and they also 
Page Sixteen 




Fig. 541 



often figure on a belt, making a good finish for it. The 
foundation for these buckles is made of cardboard or 
buckram; when the latter is used the edges are wired 
with fine bonnet wire. To do this successfully, take a 
needle threaded with a strong thread and sew on the 
wire with buttonhole stitches, carrying it along the edge 
in one piece, and where the wire joins it should extend 
well over the first end to make it very firm. The buck- 
ram foundation is preferable when the buckle is made 
of beads, as it is much easier to sew the beads to, and 
the buckle when finished can be bent slightly, which 
gives it a softer effect than if made very stiff. 

Page Seventeen 



Cover the foun- 
dation with two 
or three thick- 
nesses of mousse- 
line de sole or 
chiffon cloth. 
After the found- 
ation is covered, 
take small parts 
of a transfer de- 
sign, such as 
small leaves and 
flowers, or fash- 
ion a design to 
suit the shape of 
buckle, and baste 
the tissue paper 
with the design 
on it on the 
buckle. (See dia- 
mond - shaped 
buckle in Fig. 542 
and long beaded 
buckle of similar ^*s- ^^ 

design in Fig. 543). 

Sew the beads over the tissue paper, taking one 
bead on every stitch and using purse silk of the same 
color as the covering of buckle. The paper is after- 
ward torn away, the small pieces being easily picked 
out with the point of a pin. 

The edges are afterwards finished with small 
pearls. To do this, first string the beads and with an- 
other length of thread secure the end and tack the 
strung beads to position between each bead. 
Page Eighteen 




For a buckle made of silk or material, the card- 
board foundation will answer quite as well and not 
being wired it takes much less time. For the shirred 
silk buckle illustrated at the top of Fig. 542 cut the 
cardboard the size and shape desired, say 4 inches 
long and 3 inches wide. The center bar is % 
of an inch wide and the rim one inch wide. 
First cover the center bar with silk as neatly as pos- 
sible. Then take a length of silk 27 inches long and 3 
inches wide which must be cut on the bias. Fold over 
each side, making the raw edges meet in the center. 
Next make a 14 i^^ch tuck on either edge to 
form a shirring ; this will leave the center on the right 
side one inch wide between the tucks. Also gather 
separately each raw edge. After the shirrings are all 
in, place the silk around the buckle foundation and 
catch the two raw edges together at the back, carefully 
drawing the shirrings tight and even around the found- 
ation. The back is afterward lined with silk the same 
color. 

The buckle shown at the left-hand side of Fig. 
543 is cut from a piece of buckram. It will require a 
piece of material just the size to cover it. It should be 
embroidered before covering the buckram. In the 
design shown here, pale pink, amber, and delicate blue 
are the colorings used. The three dark jewels near 
the center in either side of the buckle and those in the 
flower centers near the ends of the left-hand side of 
buckle are pink, those in the middle and on either side 
of the pink ones on the left-hand side of buckle are 
amber, while those at the top and near the end of the 
right-hand side of buckle are blue. The little flowers 
are done in the ribbon embroidery, alternately in pale 
blue, pink and pale yellow. Those who have never 

Page Nineteen 



done any ribbon embroidery need have no fears in 
undertaking the work on this score for it is very sim- 
ple. Supply yourself with the tiny ribbon at any dry 
goods store having a fancy work department, thread it 
into a No. 4 crewel needle and take the stitches straight 
from tip to tip of each leaf and petal form, seeing that 
the ribbon does not twist. After the embroidery is 




Fig;. 543 

done, it should be pressed on the wrong side on a well- 
padded board. It is then ready to be mounted. Place 
the material over the buckram form and turn down 
the outer edges, pasting them to the wrong side with 
Page Twenty 



library paste. The inner opening is then cut out, leav- 
ing a margin, which is clipped at intervals to prevent 
drawing, and is also turned under and pasted on the 
wrong side. Line the buckle with any thin material 
and fasten at the edges with the old fashioned whip- 
ping stitch. It might also be finished with heavy gold 
thread whipped or couched on, or left without any fin- 
ish along the edge. 

Belts were discussed at length in Lesson 21 but 
we are giving in this chapter those referred to in Les- 
sons 21 and 23 which would appear under the head of 
"Dress Accessories." Embroidered and braided belts 
are considered more smart if they match the design 
on the balance of the costume. 

The design in embroidered belt in A, Fig. 544 is 




Fig. 544 



the same as C and G, Fig. 525, and bow in Fig. 407; 
also hand-bag in Fig. 530. 

When embroidered belts are made of linen the 

Page Twenty-One 



sides may be narrowly hemmed or neatly bound with 
linen tape, and it is advisable not to line them unless 
the material is very thin. When necessary to line, do 
the embroidery before lining. Almost any stitch used 
in embroidery may be employed in decorating belts, 
such as cross-stitch, satin-stitch, eyelet, Wallachian, 
darning-stitch, lazy daisy, etc. The stitch used, how- 
ever, will depend upon the decoration on the costume 
with which it is to be worn and the material of which 
the belt is made. For instance, the mercerized woven 
belting is very satisfactory to embroider upon, but all 
the work must of necessity be solid, since it is imprac- 
tical to make eyelets in material of such a weave. It 
may also be ornamented with braiding or beading as 
suits the fancy, and being soft and pliable it is easy to 
work on. It also launders well and is very durable. 

In the second belt in B, Fig. 544, the solid spots 
are all padded and covered very smoothly with floss in 
the satin-stitch. The dots in this case are marked in 
two shades of blue, the smaller ones in the lighter and 
the larger in the darker and then outlined in black. 
The braid used is soutache. A practical braiding design 
is shown on the belt at D, Fig. 544 and another just 
below it. The designs shown in Figs. 427, 429 and 432 
of Lesson 22 are all good for belts. If that in 429 
proves too wide for any particular case the outer row 
of braid may be omitted. 

The beaded belt shown at C, of Fig. 544 is of white 
silk belting, beaded with gilt and turquoise beads — the 
latter in the solid centers outlined with the gold. The 
belt is lined with white grosgrain ribbon and is closed 
with a gold buckle. Any cross-stitch pattern may be 
used for beading. Coarse tarleton should be basted 
over the belting and the beads sewed on it. After the 
Page Twenty-Two 



beading is finished the tarleton is pulled out. A hand- 
some belt could be made of the fine canvas used for 
cross-stitch embroidery. The pattern should be beaded, 
then the background filled in with beads to contrast. 
With gold and turquoise beads, white, pale yellow or 
pale gray beads might be used for the background. 

Accessories for the bride and graduate are for the 
most part very similar, the former, however, include a 
larger variety of articles for as a rule the bride pre- 
pares for her going away as well as the wedding. The 
accessories for the bride are more matronly in style 
than those for the girl graduate. 

In the bride's accessories may be mentioned the 
veil, ribbon ornaments for waist, coiffure, belts, slip- 
pers, etc., elaborate and dainty collar and cuff sets, 
hand-bags, in fact, any of the accessories that have 
been already named may be selected. 

A most graceful veil is depicted in A, in Fig. 545. 
The veil will require 3 yards tulle (bobinet) 21/2 yards 
wide for a moderate train and figure. Fine bobinet 
veiling is 2 to 4 yards wide. Turn corner over and 
gather into about a twenty-inch space. Place on the 
head, adjust the fullness evenly and pin narrow strips 
of tape across a trifle in front of the rows of shirring 
in illustration to hold in place and give the proper line 
for the shirring. After the tucked shirring is put in, 
cut off the corner from underneath, and band it in front 
with a wreath of orange blossoms encircling the head, 
and showing through the veilin the back. Or it may 
be come on top of the veil in the back, also. Do not 
hem veil, but let edges remain just as cut. 

The bridal veil is supposed to convey the idea of 
modesty and girlishness and up to about five years 

Page Twenty-Three 



past, a shorter veil or end of the long veil was worn 
over the face, but now in this country, it is omitted. 

The veil drapery differs according to one's taste, 
the mode of dressing the hair, etc. Some are confined 
under five strands of simple orange blossoms on green 
stems extending from ear to ear and are held low at 
each side by a cluster of orange blossoms in a tulle 
rosette. Others with strings of pearls, etc. Some of 




Fig. 545 

the veils cover the trains, others are 2 yards long from 
the nape of the neck irrespective of the train. 

Bows and rosettes for waists, girdles, bandeaux, 
and slippers play a most important part in a bride's or 
graduate's accessories as with a change in these the en- 
tire costume will appear to be changed. The size and 
character of bows and rosettes will determine their 
Page Twenty-Four 



approprieteness for different uses. For example, those 
shown in B, C, D and E, (Fig. 545), may all be used 
on slippers; B and D for the neck, and C and E for 
girdles or sashes, or a finish for a bandeau if made the 
proper size for the prevailing style in such things. 

The bow shown in B, Fig. 545 is made of satin 
ribbon knotted. Select No. 3 or No. 5 ribbon, also let 
the number and length of the loops be governed by tii'? 
purpose of the bow, the smaller the bow the narrower 
the ribbon is used and the shorter and less loops are 
made. It will also be observed that the loops are grad- 
uated, the under ones being the longest and grow 
shorter with each layer so that the knots will not come 
under each other. This is done by making the distance 
between the knots a little less as the loops are made 
for each layer. That is, say there is to be five loops 
in the under layer on either side, (which will make one- 
large enough for a neck bow), make these loops 5 
inches long, those of the second lower about % of an 
inch less, or 4% inches and the top ones % of an inch 
less than the second, or 414 inches. Then to start 
with make the first knot as far from the end of the 
ribbon as half the length of the under loops are to be, 
or 21/2 inches in this case, then continue to make 
the knots as far apart as the full length of the 
under loops until there is the required number. To 
those unaccustomed to making the knotted bow of grad- 
uated loops it will be best to make up one length at a 
time. This will not necessitate cutting the ribbon, how- 
ever. Remembering the instructions for making bows, 
lay the loops alternately from left to right or vice versa, 
until all in the first layer have been laid, then sew 
securely through the center. Next make the knots for 
the second and upper layers by the same rule as the 

Page Twenty-Five 



under, making the first knot as far from the center 
of the bow as half the length of the loops and the bal- 
ance of the knots are the full length of the loops in that 
particular layer. 

The bow is finished in the center with a piece of 
the ribbon drawn tightly across and fastened securely 
at the back. 

The charming rosette in C, (Fig. 545), is made of 
lace. For medium sized rosettes two yards of lace will 
be required. Real Valenciennes and the Spanish silk 
lace are both lovely, but fine Mechlin may also be used 
with good effect. Cut the lace into halves — ^one for 
each slipper. Run a double gathering thread along 
the straight edge of the lace, gather to a length of 
seven inches, and fasten off securely. Coil into a 
rosette and sew lightly into place at the back of the 
rosette. A single artificial orange blossom or a cluster 
of three sewed deeply into the center of the rosette 
will justify the name of the bridal rosette. Rosette 
in this style for other purposes may be increased in 
size by simply using more and wider lace. 

To make the typical stiff and dignified slipper bow 
illustrated in D, (Fig. 545), use about 1/2 y^i^d 
of No. 5 ribbon. Cut two pieces 5 inches long for 
the bows and two pieces 2 inches long for the center 
cross-pieces. Fold a five-inch piece into a stiff looped 
bow, and sew into place. Make one fold or plait length- 
wise in a two-inch piece, and put across the center of 
the bow, finishing neatly at the back. Use heavy white 
ribbed ribbon or black velvet. 

For a tailored bow for the neck in this style use 
No. 12 or wider ribbon and make the loops and cross- 
piece to the fold or end of the loop which should be more 
than or at least equal to the width of the ribbon. 
Page Twenty-Six 



The double rosette in E, (Fig. 545), of white chif- 
fon with two hand-made white satin rosebuds will re- 
qure Y^ of a yard of fairly heavy chiffon and about 
a yard of No. 16 satin ribbon for two rosettes. 

Chiffon, as you doubtless know, is double width; 
halve it at the center crease reserving each half for 
one rosette. Fold the long raw edges toward each 
other making the first fold one and one-fourth inches 
from the edge and the other one inch from the other 
edge. This will make a double thickness of the strip 
and will bring the edges together. Next fold along the 
strip just where the edges meet, in order to give the 
double-tuck effect, having the raw edges on the inside 
of the fold. With needle and a double thread gather 
finely along this last fold made. Fasten off securely 
after gathering this double ruffle into about a six-inch 
length. It will now be easy to form into a double 
rosette, each end turnmg in an opposite direction from 
the other, forming a center and sewing into place at 
the back. 

Each satin bud is composed of three rose petals. 
Cut the ribbon into twelve 2l^ inch lengths and fold 
each in the center diagonally. For a larger or smaller 
rose-bud use a width ribbon that will make the square 
the desired size. Sew the two thicknesses of ribbon to- 
gether as for the wild rose petal as shown in Fig. 536, 
beginning and ending the stitching at the fold. Make 
the center of each rose-bud like B, in Fig. 537, and 
place around this center two petals as shown in A, Fig. 
537, as these represent buds beginning to open. Sew 
a rose bud deeply into each center of the double rosette. 
There will be four buds in all — two to a rosette. 

The bandeau shown in F, (jt^'ig. 545), can be easily 
made from a double fold of ribbon, the width of ribbon 

Page Twenty-Seven 



depending on the width one wishes the bandeau. It is 
finished at the side with a wired bow of six loops. It is 
made by simply twisting satin ribbon loosely around 
wire. Little loops of bebe ribbon are attached to the 
ends of the bandeau to receive hairpins with which to 
fasten it to the hair.' 

As has been mentioned in a former lesson, there 
are a number of novel, dainty and smart accessories 
that belong to the sweet girl graduate and to the bows, 
rosettes, etc., that have been given in the bride's ac- 
cessories others are illustrated in Fig. 546. With the 
graduate probably the most important accessory is 
the decoration for the hair. The college and high 
school graduate wears bandeaux and the young girl's 
hair is ornamented with a large bow on top and at the 
back the bow can be pinned just above the nape of the 
neck, or sometimes it is tied again near the ends of 
the hair. 

For evening functioiis you can wear bandeaux, 
ribbons, ribbon rosettes or flowers in colors in your 
hair, but if the graduation dresses are all in white 
use the hair decoration in white only for the gradua- 
tion exercises and baccaleaureate services. Two small 
and three medium sized flowers are made from strips 
of from 2% to 2% inches respectively. Knot each 
length of ribbon in the center in such a way that the 
satin side of the ribbon is uppermost in each end. Then 
gather the ends of the knotted strip in this way and 
draw the thread up tightly and you have a petal. 

The petals of each flower are all sewed together 
at the back to make as neat a finish on the top as 
possible before fastening to the band. Take one of 
the medium sized flowers at each end of the band, and 
Page Twenty-Eight 



on the right end sew the remaining one a little above 
the first but close to it. The larger flower and the 
two smallest ones are grouped a little to the left of 
the center front, the larger nearer the lower edge. 
The centers are filled in with the gold beads grouped 
unevenly or French knots in yellow silk. 

For each certain occasion you may prepare to 
make the bandeau or at least the flowers of colored 
ribbon, using tiny gold or steel beads ; gilt ribbon with 
white satin flowers and chalk beads ; silver ribbon with 
tiny coral or turquoise beads along the edges of the 
band and the centers of the flowers. 

There are a number of fancy gilt and silver band- 
ings of varying widths, many of them jeweled, or to 
which one may add flat sided glass or porcelain jewels 
to match any color dress, and when mounted on bands 
of white or pale colored chifl'on or tulle a trifle wider, 
are most attractive. 

Bands of chiffon or fine net embroidered in spark- 
ling beads — jet, opalescent, steel, metal, and the crys- 
tal beads lined with gold or silver or with a color — 
are effective for evening wear. 

Some of the heavier passementeries are pretty un- 
lined, especially if the edges are uneven. Heavy laces 
in effective patterns are often becoming, particularly 
if one's hair is dark, and it is considered quite the 
thing that the hair ornament carry out the color 
scheme of the toilette. 

Hair bows should be mounted on rather slender 
shell hairpins. Very pretty yet simple bows may be 
made of satin back velvet or satin ribbon with or with- 
out the grosgrain back. Use about a No. 12 ribbon 
and on either side make a machine-stitched hem 14 of 
an inch wide, the satin face of the velvet or the gros- 

Page Twenty-Nine 



grain of the ribbon being turned back to form the hem. 
Run a shirring wire through the hem. For an 
ordinary sized bow, cut one end in a moderate point 
and make a tall end four inches long. Allow seven 
inches for a tall loop, and for five loops allow five 




Fig. 346 

i.-ches each. Form the knot and allow the remainder 
of the ribbon to stand in a sharp end. This will re- 
quire 1% yards. 

A girlish and becoming ornament for the hair is 
the double bandeau shown in A, Fig. 546. This is 
made of ribbon wound about wires with fluffy rosettes 
that come just back of the ears. The rosettes are made 
of ribbon or a strip of messaline silk from 21^ to 3 
inches on the double gathered into about a 
Page Thirty 



seven-inch length, then formed into a rosette and 
sewed in place at the back. A little extra length of 
the wire is left at the ends to form loops that receive 
hairpins and in this way the bandeaux is fastened in- 
conspicuously beneath the hair in the back. 

The bandeau illustrated in B is made of No. 12 
white satin ribbon and tiny gold seed beads. The band 
should just be long enough to meet around the head 
and allow for the finish. The ends are plaited softly 
and hemmed and two hooks and eyes are attached. 
The beads along the edges are sewed about % of an 
inch apart. If one wishes the flowers in white 
let them be daisies in three different sizes made from 
No. 2 white satin ribbon. One large daisy is composed 
of seven petals made from three-inch pieces of ribbon. 
Lace to match that which trims the gown may be used. 
Pipings of black velvet are used to edge the lace band- 
ings when the hair is light. A half yard of tulle — 
white or a color to match the gown, if very pale — 
crushed to form a narrow band is airy looking and 
becoming to a youthful face. The ends are fastened 
at the sides under a rosette. 

, A set of accessories in a wreath for the hair, girdle 
buckle and slipper ornaments would be very effective 
indeed. The laurel wreath set, part of which is shown 
in E and D, Fig. 546 is particularly well adapted for 
the graduate's use. The laurel wreath bands the hair 
charmingly. It may be used as an open wreath or be 
made long enough to meet at the back. 

The wreath buckle can be worn at the left side- 
front with a soft crushed girdle or it may be used as 
a finish at the center-back of the dress. 

Besides the laurel slipper bows, a long chain of 
leaves can be made to which the dainty fan may be 

Page Thirty-One 



attached. Such a chain like the pearl chain often seen, 
should be two yards long and should be worn over the 
left shoulder, across the bust diagonally and under the 
right arm, allowing the fan to hang gracefully within 
easy access and use. 

The motif, or leaf, for the hair wreath is made 
from a Sl/g inch square of satin ribbon or messaline 
silk folded diagonally. As will be seen in the working 
details in C, Fig. 546, a gathering thread outlines the 
two raw edges of the folded square. When the gather- 
ing is in, draw the thread up tight to form the leaf and 
fasten the thread securely. 

Two leaves are sewed together at the base; then 
the point of one leaf is sewed above the base of another 
until a sufficient length is made in either direction. 
Eighteen or twenty for the hair wreath and about 
twelve leaves for the buckle. A tight fold of silk makes 
a good finish for the center. 

Two motifs for the slipper ornament are made 
from two 1% inch squares and two 2% inches, the 
larger ones being placed underneath the smaller, (see 
illustration) . 

The fan chain should be made from 2% inch 
squares. As the chain must be suspended, and may 
show both sides, the wrong side of the leaf chain should 
be finished with a very narrow strip of silk or ribbon, 
running down its very center, giving a neat, incon- 
spicuous appearance. 

As messaline ribbon may be had from 51/2 inches 
to 6 inches wide, it can be cut in two sections, 3% and 
2% inches and thus used very economically. Probably 
a set including the hair wreath, buckle, slipper orna- 
ments, fan chain and crush girdle would not require 
more than five or six yards all together. 
Page Thirty-Two 



The rosettes in F and G, Fig. 546, are slipper orna- 
ments and require a bolt of No/ 2 ribbon for each pair, 
or five yards to a rosette. To make the rosette shown 
in F knot the ribbon every 31/2 inches. When this is 
completed, form loops of the ribbon having the knot at 
the outside of the loop, sewing the loops carefully in a 
straight line, one after another as shown in H. Coil 
into a rosette, and sew lightly into place at the back 
of the rosette. 

The rosette shown in G is made of ribbed bebe 
ribbon. Satin or silk may be selected, but strange as 
it may seem, much of the charming effect is lost unless 
cross-ribbed or grosgrain bebe ribbon is used. Begin 
to form loops one inch in length (2 inches to a loop). 
Measure the first loop by the tape measure so as to be 
accurate. Carefully sew loop after loop in a straight 
line, (see illustration), then coil into a rosette and sew 
lightly and loosely round and round at the back of the 
rosette. 



Page Thirty-Three 



LESSON No. 29 



CI)e American ^gstem 
of Bressmafeing 

TAUGHT ONLY BY THE 

American College of Dressmaking 
Kansas Gity^ Mo. 

MISS PEARL MERWIN, Supervisor 

LESSON NO. 29 

EQUIPMENT FOR THE HOME DRESSMAKER. 

For the woman who does her own and the family 
sewing there is nothing so practical and essential as a 
sewing-room. This need not be a very large room and 
should contain a good-sized table with at least one 
drawer, a sewing chair, a stool chair, machine, skirt 
gauge, mirror and drawers or some shelves. This 
room should be on the second floor preferably, but of 
course, if it is more convenient to have it on the first 
floor, well and good. The reason for recommending 
the second floor is because it is more private and it 
keeps the first floor from becoming disorderly, and 
when callers come unexpectedly one will not have to 
jump and run to pick up the scraps and straighten 
up before going to the door to receive them. Then, 
too, if there are children in the home there will be no 
occasion for them to invade the sewing-room, misplac- 
ing articles and picking up the garments which often- 
times results disastrously. 

Now, "the man of the house" may think this sew- 
ing-room a piece of unnecessary extravagance ; but, no 
doubt, he has a tool-house of his own, and a sewing- 
Page Three 



room is just as necessary to the woman's well-being and 
comfort as a tool-house is to the man's. 

A doctor, nurse, surgeon, carpenter, would not 
dream of starting in his or her profession without all 
the necessary instruments and tools. But many a wom- 
an is quite content with spreading her material out on 
a bed, pinning pattern on with any old kind of pins, 
blunted, bent, rusty and otherwise, cutting with em- 
broidery or perhaps manicure scissors and then won- 
ders why her dresses don't turn out better after mak- 
ing them in such a haphazard fashion. 

The sewing-room should be light, airy and cheer- 
ful, and when sewing on white or dainty colored ma- 
terials, spread a sheet over the table and let the work 
lie on it. At night fold the work up in the sheet and 
put it on a shelf or in a large covered box. 

Fig. 547 illustrates a corner of the sewing-table 
with its necessary equipment. You can keep all these 
articles when not in use in the drawer, save the skirt 
gauge and sleeve form which will not require much 
room elsewhere. If preferred, the square may be hung 
up on a nail on the wall which will keep it from becom- 
ing bent in any way. In one side of the drawer may 
be kept small boxes for your buttons, pins, threads, 
twist, hooks and eyes, boning, etc. 

Save all left-over materials of a dress or suit as 
long as the garment is worn, in case you want to alter 
or change it and keep these pieces in one certain 
drawer or shelf. 

By referring to Fig. 547 you will observe that 
"bent" shears are used instead of scissors. These 
shears should be nine or ten inches long and should be 
kept well sharpened so that they will not hack or chew 
the material. They are made in this manner so as to 
Page Four 




FIG. 547 



raise the material as little as possible and thus pre- 
vent the under layer from slipping when cutting double 
thicknesses of materials. A good pair of these bent 
shears will cost from $1.25 to $1.50 but they are econ- 
omy in the end. You will also need a good pair of but- 
tonhole scissors as shown in Fig. 547, which will cost 
about $1.00. 

Always use a good comfortable thimble — one not 
too large or too small but one that will let the end of 
the finger just touch end of thimble. The paper of 
needles should be of assorted sizes so that you can al- 
ways use the right size needle to correspond with your 
thread and material. 

Besides having the different sizes of black and 
white cotton thread you should also keep a spool of 
white basting cotton No. 50 or 60 to use for markstitch- 
ing and basting. In addition to your square you will 
need a yard stick and if you can procure one forty-five 
inches in length it will come in quite handy in drafting 
long skirts, coats, princess dresses, etc. Also have a 
good sixty-inch tapeline whose inches correspond to the 
inches on the square and yardstick. And here is where 
a little lecture is often necessary. A great many wom- 
en are careless in their measures. Three-fourths of an 
inch means much the same as one inch; three-eighths 
much the same as three-fourths to most of them and 
the eighths and sixteenths are often lost sight of en- 
tirely and yet they wonder why the drafting does not 
test out correct and why the lining is too small in one 
place and too large in another. The sooner one gets out 
of this habit the better. Learn to be exact in your 
measures and drafting and basting, then your fittings 
will not have to be changed very much. Accuracy in 
these points is absolutely essential to successful re- 
Page Six 



suits. Always keep at least one paper of small, sharp 
pins. Never use pins that are bent, blunt or rusty or 
they will injure your material. Take up as little of 
the material as possible when putting in pins and al- 
ways be careful to put them in so they will not fall 
out. Either make or buy a good emery and when your 
needle begins to feel a little blunt or sings a little song 
as it is being pushed through the material, run it 
through the emery once or twice and its "squeak" is 
ended. 

Now about the pressing boards. Your family 
ironing-board will answer for the straight seams in 
skirts, long coats and dresses ; but for the waist, sleeves, 
coat collars, etc., you will need a sleeve board similar 
to the one illustrated in Fig. 547. The board should 
be covered first with woolen material and then with a 
smooth heavy drilling or cotton cloth. The ordinary 
eight-pound smoothing iron will answer for most of 
your pressing purposes unless you do a great deal of 
tailoring then you will need about a sixteen-pound reg- 
ular tailor's iron. Always keep your irons clean, re- 
membering that silk and light weight materials require 
much less heat than heavy or woolen materials. 

Make yourself a tailor's cushion according to in- 
structions given in Lesson 12. You will find it quite 
necessary for pressing darts, coat fronts, hip seams 
and, in fact, all curved seams, which would be stretched 
out of shape on a flat board. 

Instructions are given a little later on on the use 
and care of the machine. 

Now, for the dress form. By all means, have a 
full length dress form if you can possibly afford it. 
Buy it according to your bust and neck measure, then 
make a tight fitting lining of a waist and skirt that fits 

Page Seven 



you exactly in every part; then put it on the form, fill 
out any places necessary with scraps of tissue paper un- 
til the lining fits the form the same as it did you. Your 
fitting trouble will cease right here for you can always 
make all your clothes right on this form without hav- 
ing to try them on yourself. A sleeve form is not ab- 
solutely essential but it comes in very handy many 
times in making fancy sleeves. Instructions are also 
given later on for constructing a home-made form. 

The skii't gauge is used for turning hems or mark- 
ing the bottom of skirts, dresses and long coats. You 
can mark the bottom yourself if you have a dress form, 
then slip the garment on to see if it hangs evenly all 
around. If you do not have a form, however, you will 
have to get some one to mark the bottom for you. 

CONSTRUCTING A HOME-MADE DRESS FORM. 

Cut and seam a lining of some very strong duck 
or drilling crossways of the material. Use the darts 
in front and the forms in the back and cut it at least 
six inches below the waistline. Use the measures of 
the person for whom you are sewing, so that every 
curve and line will conform to her figure in its proper 
place. Fit the lining on the person as carefully and 
perfectly over the hips as any part of it. Stitch the 
seams with very coarse thread to make them stout. 
Stitch up the center front line, leaving a space in the 
middle large enough to admit the hand and fill the lin- 
ing with bits of cloth and cotton. The latter is better, 
but requires a large quantity, as it must be made very 
solid. This will take lots of time and patience, for the 
stuffing must be done evenly and smoothly in order to 
bring out the curves. Cut a piece of cardboard the 
size of the neck and two inches wide and fit inside the 
Page Eight 



neck of the lining. Glue it to the lining. Use a stock- 
ing leg to form the arm. Take a large dart in it at the 
elbow point to form the bend at the elbow. Stuff this 
until it is the same size as the arm, and make it the 
same length as the arm. Sew it in the armhole of the 
lining. Be sure there is enough stuffing at this point. 
Since the form is now perfectly fitted to six inches be- 
low the waist, the skirt can be fitted also. Place the 
stuffed lining upon a standard of some sort, having 
it arranged so the skirt will hang freely. If a bustle 
and hip pads are worn, remember to place them on 
the form also when fitting the skirt. 

Papier mache forms, such as are seen in stores for 
displaying goods upon, can be purchased at a slight 
cost, and by putting the fitted lining over this and 
stuffing it out where necessary, saves a great deal of 
time. Where there are two or three in family to sew 
for it is better to purchase one of these forms, having 
the bust measure correspond to the bust and neck meas- 
ure of the smallest person. Each one will need a fitted 
lining, then when using the form put on the lining need- 
ed and stuff it up. In this event, do not stitch the center 
fronts together before putting it on the form, but over- 
hand them together after the lining is on the form, 
leaving a space in the center large enough to put in 
the filling. 

SEWING MACHINES. 

The idea of the sewing machine originated in Eng- 
land in the eighteenth century but it remained for 
America to develop it as an invention of practical util- 
ity. The first machine made in this country was in 
1804. Since then the idea was taken up from time to 
time by various men and manufactured in more or less 

Page Nine 



crude forms until its present perfection was reached. 
To-day excellent machines may be had at a very low 
cost considering their delicate and wonderful mechan- 
ism and long periods of usefulness. 

It is of the latter subject that I wish to impress 
upon the minds of the pupils. The period of useful- 
ness of a machine depends entirely upon the care given 
it. No machine, at any price; will give good service 
if not thoroughly understood and properly cared for. 
Lack of knowledge in operating and lack of care in 
cleaning are two universal errors. 

It seems to be a very common fault with home 
sewers to neglect their machines. They carefully dust 
the outside of them but overlook lifting the head and 
cleaning the portions not visible. If the machine in 
the home was thoroughly cleaned and oiled every two 
or three weeks it would be in good working order at 
all times and last a life-time. If it is in constant use 
it should be cleaned once a week and sparingly oiled 
every day. 

Another very common error is speeding the ma- 
chine. Every machine has a certain speed limit, and 
no effort on the part of the operator will increase its 
limit. You may work your feet and revolve the wheels 
ever so fast and tire your life out but nothing is gained 
by so rapidly running it. A regular even movement 
of the feet is more conducive of good results, is less 
harmful to the machine and less laborious to the oper- 
ator. A jerky movement, starting with great rapidity 
"and then stopping abruptly because of lack of patience 
and endurance on the part of the operator, is very bad 
for the machine, the work and the operator. 

The relative connection of needle, thread and 
stitch is of utmost importance. Do not use a coarse 
Page Ten 



needle with fine thread or silk and a short stitch, nor 
too fine a needle and thread with a long stitch. All 
machine needles are graded in six or seven sizes, each 
size being suitable for certain sizes of thread or silk, 
for certain lengths of stitches and for certain mater- 
ials. Each package of needles is marked either by 
numeral or letter, the printed directions giving the 
number of the thread with which it may be used and 
the teacher or book of general instructions will tell 
you just what needle, thread and stitch to select for 
different fabrics. 

Some machines have a tabulated guide for the 
proper selection of needle, thread and stitch engraved 
on the sewing-plate ; this is a very valuable aid to good 
sewing and should be carefully studied and applied. 
The stitch lever should be adjusted each time the ma- 
terial to be stitched requires a different needle and 
thread. The home sewer often uses a No. 1 or No. 
2 needle and a No. 10 or No. 12 stitch for all kinds of 
sewing and never thinks of making a change unless 
the needle breaks, and then she wonders why she 
doesn't turn out a better looking piece of work. 

Always see to it that the needle is properly ad- 
justed. Endeavor to procure needles manufactured 
by the makers of your machine. Pulling the work 
while sewing will blunt the needle and make a poor 
stitch. A blunt needle will also cut the threads of the 
material in such a way as to let the seam rip when the 
garment is worn. 

Again, always see to it that the machine is prop- 
erly threaded. Follow the instructions carefully for 
this. Use good, firmly twisted thread ; do not buy cheap 
thread. It will not sew successfully so there is no 
economy in buying it. Do not fill bobbin too full. Be 

Page Eleven 



sure to thread the shuttle according to instructions. 

While lack of oil will cause a machine to run heav- 
ily and jerkily, the use of too much oil is detrimental, 
besides the danger of the oil's spotting the garment 
being made. Always buy the best grade of machine 
oil. This is absolutely necessary. Bad oil is made up 
of other ingredients besides oil which gums the ma- 
chine and clogs the working parts. 

An old silk or linen rag is best to use when clean- 
ing, as these have less lint and loose threads than 
woolen or cotton rags. 

All standard machines have a splendid assortment 
of attachments which should have a very careful study 
as an intfmate knowledge of these labor-saving devices 
is also a time saver and time as every one knows is a 
very valuable asset. As a brief summary: 

Learn to take care of a machine. 

Learn to dust, clean and oil a machine. 

Learn to run a machine at moderate speed. 

Learn to regulate the upper and under stitch. 

Learn to thread and needle a machine. 

Learn to use all the attachments, especially the 
liemmer,. tucker and gauge. 

Practice making hems, tucks and seams on odd 
pieces of muslin or cloth, using the above attachments. 
The edge of the presser-foot may be used as a gauge to 
stitch seams evenly. 

FITTING UP A DRESSMAKING SHOP. 

The first thing to be considered in opening up a 
dressmaking establishment is the location. As it is to be 
a business concern it should be located where you will 
get the most business, and where it is most accessible. 
Unless one has a large capital with which to start, it is 
Page Twelve 



better to avoid the strictly business part of the city 
because of the high rents usually charged in those 
parts, and locate nearer the residence district. 

The next thing to consider is your room space. 
You may not be able to find just what you would like, 
but by a little planning and ingenuity on your part, you 
can arrange it so as to meet all the necessary require- 
ments. Select one large, airy, light room, or a suite 
of three rooms. The former, you can curtain off into 
three divisions — a reception or office room, a fitting 
room and a sewing room. Or, you may have a carpen- 
ter partition off the space for you, using cheap ceiling 
lumber and extending the partitions only a part of the 
way up. In the reception and fitting rooms put neat 
white Swiss sash curtains at the windows. 

Make your reception room or office as cheerful and 
home-like as possible. The furniture, of course, will 
depend upon the amount you wish to spend on it. A 
rug, a table well supplied with fashion magazines, two 
or three rocking chairs and a few pictures on the wall, 
including your diploma, if you like, are all that are 
necessary in this room. 

In the fitting room you will need only a full length 
mirror, a small table and one or two chairs, and a 
good-sized footstool upon which your patron can stand 
when measuring length of skirt. 

The sewing room is the most important of all, as 
this is where you will spend the greater part of your 
time and where the bulk of the work is done. Too much 
care and judgment cannot be exercised upon the ar- 
rangement of this room. Above all, have all the day- * 
light you can possibly get, as the best results in sew- 
ing are to be obtained only in good daylight. Next to 
light is convenience. Arrange all the furnishings of this 

Page Thirteen 



room with the object of having everything as conven- 
ient as you can. One machine may do for a while, but 
you will probably need two or more soon. 

There should be at least two long tables in this 
room ; one should be high enough to draft and cut the 
patterns and material without having to bend over ; the 
other should be low enough to sit at and sew. Both 
tables should be well supplied with drawers in which 
to keep all the accessories, such as the un-cut materials, 
linings, canvas, trimmings, unfinished garments, etc. 

Provide each helper with an easy chair, lapboard, 
yard stick, and a work box containing scissors, basting 
and sewing thread of the different colors, needles, hooks 
and eyes, tapeline, tailors' chalk, tracing wheel, emery, 
American tailors' square, etc. Avoid having them to 
get up and look for all these things, as it takes time 
and provokes worry. You will need about three press 
boards — a waist board, sleeve board and skirt board, 
all of which should be padded and covered with heavy 
muslin. 

SEWING ROOM HINTS. 

When dressmaking in a room that Is not used ex- 
clusively for sewing, if you will have a pasteboard box 
at your left hand in which to throw all your scraps you 
will be surprised at the amount of picking up you will 
be saved. Also have large suit boxes to put your work 
in as it is partly finished, and you will be saved much 
labor. 

Another convenience in a regular sewing room is 
»to tack a strip of cloth three inches wide across one 
side of the wall to use in pinning the different sections 
of garments and patterns often in use. 

In stitching, the work drops over the machine and 
Page Fourteen 



often is dragged into the wheel. A plain cretonne cur- 
tain, tacked just under the shelf or table of the machine 
will help wonderfully. Be careful not to leave the head 
of the tacks out far enough to catch on the work. 

When basting or sewing with any kind of thread 
take the usual needleful from the spool, hold each end 
firmly, and stretch the thread as tightly as possible two 
or three times. You will have no twists or snarls to 
bother or annoy you when in a hurry, if this simple 
precaution is taken. 

In patclmig, if embroidery hoops are used to hold 
the cloth with which you are working in place, basting 
is unnecessary and the work is done much quicker and 
neater. 

When silk pulls out of shape under a pattern, baste 
the edges of the silk evenly to a newspaper. Cut 
through silk and paper. 

To press tucks in crepe de Chine, put a sheet of 
white tissue paper over the right side. In this way 
the tucks may be seen and kept straight. 

It is very hard to sew harsh goods such as calico, 
percale, etc. Needles break or blunt very easily. This 
difficulty may be overcome by rubbing the seam or hem 
with beeswax or soap when the needle will penetrate 
readily. 

A piece of court plaster on the end of the fore- 
finger of the left hand will protect it from needle pricks, 
when sewing. 

When the sewing machine band becomes too loose, 
do not cut but put a few drops of castor oil on and 
revolve rapidly a few seconds. 

Manufacturers nowadays seem to pay esi3ecial heed 
to the needs of the home dressmaker, and there have 

Page Fifteen 



recently been put on the market little items that make 
the task of cutting and sewing much easier. 

Several widths of bias folds are put up in pieces 
of one dozen yards each, in nainsook, India linon, lawn 
and cambric. The piece runs from ten cents a dozen 
yards for the narrowest in lawn. These are all folded 
on each edge so that all the user has to do is to apply 
the folds with machine stitching. For underwear, sleeve 
bindings, seam coverings, cuff and collar finishings and 
for trimming little girl's frocks and pinafores, the home 
sewer will find countless uses for these convenient fab- 
ric^. They are also offered in taffeta, China silk and 
satin, and in several widths and colorings. 



If when stitching a tuck or seam, one will simply 
turn the garment and stitch back a short distance, it 
will save much time, as tying threads will not then be 
necessary. 



To pi-otect the work table. — When cutting out gar- 
ments, it is often necessary to mark the seams or other 
lines with a tracing-wheel. In order to protect your 
work table, or lap-board, slip a small board — your dry 
goods dealer will give you one from which a piece of 
dress goods has been unwound — beneath the material 
to be marked. 

A board of this kind is also useful when cutting and 
basting, and one covered with several layers of soft 
cloth makes a very convenient ironing board for col- 
lars, cuffs, etc. 



It is quite difficult to sponge and treat silk in a 
manner which will entirely obliterate the marks of 
Page Sixteen 



stitching. In fact, whether you can do so or not de- 
pends entirely upon the special kind of silk and whether 
the stitching has been done for a considerable length 
of time. Some of the softer kinds can be sponged and 
pressed without injury, and the pressing will often 
remove the objectionable marking, but again there are 
others for which such treatment would be unsuccessful. 
If the silk is black, sponge it with a solution of soap, 
tree bark and water or with rather strong tea, then 
press it, if you think the iron will not injure the silk; 
but if it is the kind to be spoiled by the iron, wind it 
very tightly and strongly round and round the handle 
of a broom, which you have previously covered with 
white muslin, and let it stand until perfectly dry. This 
is a very old method of treatment, but one which is 
often successful in renewing the silk when the use of 
iron is not possible. If your silk is colored you can 
only determine what to sponge it with by experimenting 
with a small piece. Some silk can be sponged with pure 
water, some is much improved by sponging with 
alcohol, and experiment is the best means by which you 
can discover which is best adapted to the special sort. 



To color lace to match a goivn is rather a nice 
piece of work, but can be done successfully by the use 
of home made dyes, if care and pains are taken. 
The dye must be of the exact shade and this 
can only be obtained by following directions and testing 
with samples of lace until the desired shade is obtained. 
To color lace a yellow tinge, boil in coffee, strained and 
diluted to the right tint. Let the lace remain in the 
coffee for half an hour. Tea used in the same way 
gives a pinkish shade; strong black pepper, steeped in 
water, gives a dark tan color. 

Page Seventeen 



Also, Dy using tube paints and gasoline. Mix white 
with colors and test sample until the desired shade is 
obtained. iJse plenty of gasoline and a very small 
amount of paint. 



To tell the right side of goods in making up dresses 
of wool serge, it is well to remember that in serge 
weaves twill always runs to the right on the right side 
of the goods. 



When ripping a long seam, put one end of the goods 
under the presser-foot of the sewing machine, hold the 
other side firmly with the hand and with a sharp knife 
the threads can be cut quite easily. 



Many times when one is sewing, the shears be- 
come dull, and it is oftentimes quite impossible to take 
them to a shear sharpener at once. One may get the 
desired results by taking a smooth-necked glass bottle 
and cutting the neck as if cutting cloth. Shears are 
sharpened fairly well this way. 



To darn a tear invisibly in silk or wool, use a fine 
needle and a human hair. In darning a shirt waist or 
other garment where it is important that the place 
should be noticed as little as possible, the work should 
be done without putting a piece under the hole. If the 
darning is well done, the spot will be as strong as the 
fabric around it and when starched and ironed will be 
scarcely noticeable. The edges of the material must, 
of course, be drawn together in their original position 
Page Eighteen 



and the direction of the thread follows as closely as 
possible the lines of the warp and woof. Sometimes it 
is advisable to use a thread unraveled from the goods 
to darn the rent. Sometimes when silk is used, it is 
advisable to split it in order to have a flat thread in- 
stead of a round one. 



To attach large buttons on shirt waists and tub 
gowns, when desired, a quick and easy way to attach 
them so they may be removed for laundering, is to use 
buttons with a shank, and fasten in place with sma^l 
safety-pins on the wrong side. The spaces should be 
measured and marked with a few stitches where the 
buttons should be, so they may be quickly attached 
after each trip to the laundry. In this way one set of 
buttons will do duty for a number of suits. 



To Gather Goods Without a Ruffler — If the stitch 
of the machine is lengthened and a loose tension used, 
a row of stitching can be run where the gathering is 
desired and then the thread may be pulled up until the 
goods has the desired fullness. The result is nice even 
gathers. This is especially fine in shirring or where 
two gathering threads close together are needed, as in 
the top of some sleeves. 



To prevent buttons from tearing out, sew a small 
one to the back of a large one. Place a pin between, 
while sewing. This causes the thread to be loose, ard 
thus makes it button easier. 



When sewing, and it is possible, keep most of the 
sewing to the left of the needle, for it is hard to stitch 

Page Nineteen 



accurately when forcing too much goods under the arm 
of the machine. 



Whe7i stitching a bias and straight edge together, 
let the bias come next to the feed. In very thin goods, 
to protect it from the feed, it is well to lay a piece of 
paper next to the feed, stitching it in with the seam and 
then tearing it out after the stitching is done. 



When pongee silk is spotted from ivater, let it dry 
thoroughly, then take two thicknesses of heavy cloth, 
laying both over the spot to be removed, dampening the 
upper one slightly, press carefully, thus steaming the 
goods, and the apparent grease spot will disappear. 



The best ivay to keep one's ivaists and skirts in 
place at the waistline is by sewing hooks and eyes on 
them, or by the use of buttons and buttonholes. Corre- 
sponding hooks, buttonholes or eyes are sewed to the 
inside of the skirt belt and to the outside of the waist at 
the belt line. Care should be taken to sew them in the 
same position on all waists and skirts, so that any waist 
may be worn with any skirt. For a boned waist worn 
over a skirt, the hooks should be sewed to the inside of 
the waist and the eyes on the outside of the skirt belt. 



Never try a garment on until you have run a strong 
thread around the neck and armhole to prevent stretch- 
ing. 



Clip all selvage seams to prevent drawing on the 
outsid,e, or a better way is to cut away the selvage en- 
tirely. 
Page Twenty 



In hasting silks and velvets, always use sewing 
silk. Cotton basting is apt to cut the material and will 
leave marks after they are taken out. Great care should 
be used in removing bastings from silks or the material 
will split — they should be clipped every two or three 
stitches. In fact, it is never a good plan to pull long 
bastings from any kind of material. 



In making thin summer dresses, hang the skirts on 
waistbands one and a quarter inches deep ; leave seams 
of each skirt open one and a quarter inches at top, and 
s6t this amount into the band. In case of shrinkage 
one has only to take off the band, continue stitching 
the seams to the top to let down the skirt. 



While doing the spring house cleaning, slip on a 
pair of bloomers, made from four widths of heavy, dark 
skirting, making a divided skirt. Gather in a band to 
button about the ankles and waist. These bloomers 
are valuable protectors for the skirts and facilitate 
climbing step-ladders, scrubbing floors, etc. 



Sometimes it is necessary to launder a scalloped 
embroidery waist before wearing. It is always best to 
do this before cutting out the buttonholed scallop of the 
edge. The goods will then shrink with the first wash- 
ing and a firmer and neater edge will result than if you 
cut out the scallops before laundering the piece. The 
cutting is more easily done also. 

PINKING. 
. Pinking is used either on bias or straight mater- 
ials, but the former gives much better results. It is 
done with a pinking iron which should be very sharp. 
They come in different sizes and patterns. 

Page Twenty-One 



The edges to be pinked should be carefully folded 
together the width of the scallop and basted securely to- 
gether. If the material is heavy only two or three 
thicknesses must be cut at one time, but in thin, soft 
materials several thicknesses can be cut. Place the ma- 
terial on a block of wood and holding the pinking iron 
in position with the ends at the edges of the folds, 
strike it very hard with a hammer, bemg careful to 
hold the iron level so it will cut through all the thick- 
nesses. Do not raise the iron until you are certain it 
is all cut, which may be ascertained by slightly pulling 
the edge which is to come off. If it does not come read- 
ily give the iron another stroke. Continue until the 
end is reached. 

When buttons used fo?' fastening have no shank, 
sew them over a thick pin, then remove the pin, keep 
the button held apart from the cloth, and wind your 
thread around the threads between the button and the 
cloth. This will serve as a shank to keep the button 
held away Irom the cloth. 

An original skirt hanger may be made from a dis- 
carded hose supporter. To make this hanger, sew to 
the end oi the supporter a two-inch length of ribbon or 
tape, and at the other end of it a strong safety-pin. 
i old the skirt belt and pin one of these nangers to either 
end of it and slip the supporter end oi the hangers over 
two hooks in the closet so that the skirt may be hela out 
the length of the folded belt. 

In washing a kilted skirt, baste the plaits where 
the machine stitching ends all the way to the bottom , 
of the skirt. By using a soft-finish basting cotton, the 
marks of the basting will be imperceptible when the 
thread is withdrawn after the ironing. 

Use short threads in your needle, if you would gain 
Page Twenty-Two 



best value of your time. The long threads tangle and 
break and, except for basting, a long thread is never 
practical. A good rule is from the tip of the fingers 
to the elbow. 

To join thin lace, cut diagonally through one line 
of mesh, making a true bias of the edges to be joined. 
Lay right sides together with meshes even, then whip 
through each mesh once. No edges are turned under. 

Plain fagotting makes one of the best substitutes 
for heading for underwear. Face the neck of the gar- 
ment with a bias strip, and over this work a row of 
fagotting with embroidery cotton or sansilk the width 
of the ribbon to be used. The ribbon is run under the 
fagotting stitches more easily than through beading. 

Always keep on hand in the machine drawer a 
small whetstone and when needles become dull sharpen 
them on it. 

To cut goods under straight insertion, after bast- 
ing insertion on take a piece of stiff cardboard about 
four inches in length and just the right width to slip in 
between the goods and the lace. There will then be no 
fear of cutting the lace. 

LENGTH OF CHILDREN'S AND GIRLS' SKIRTS. 
Several of my students have asked me what is the 
proper length of dresses for children of various ages, 
so I am going to answer all of them at once, though I 
must warn each mother that, of course, these rules 
must be varied to suit the girl who is unusually large 
or small for her age. 

To the top of the tiny shoes is long enough for the 
dress of the little one of a year; a dress any longer is 
likely to be in the way when the baby is learning to 
walk. At eighteen months a sturdy tot running around 

Page Twenty-Three 



looks best in a dress half-way down the little, round 
legs. By two years, knee length, just showing a peep 
of the bend of the knee, is correct ; and this same length 
is correct for the small child up to five or six years of 
age. The average-sized child of seven, eight, nine, ten 
and eleven years should have her skirt of sufficient 
length just to hide the bend of the back of the knees. 
When she is twelve and thirteen she needs from an 
inch and a half to two inches added to the length. The 
length of a skirt for the girl of fourteen years is more 
of a problem; she may be no more developed than the 
child of twelve or thirteen, and in this case the same 
length of skirt will continue to be correct for her, but 
the more developed girl of fourteen should have her 
skirts half-way down the calf, or swell, of her leg. As 
she approaches fifteen years of age the skirts should 
be lengthened just to cover the calf; when fifteen and 
a half an extra inch or two is added. At sixteen years 
a skirt which comes to the tops of the shoes is correct. 
When seventeen she may still wear it to the shoetops 
or to the ankles. At eighteen she is a young lady and 
should be permitted to choose the length she likes ; but 
if she is wise her skirts will be ankle length, or four 
inches from the floor. 

TO TEST DIFFERENT MATERIALS. 

Cotton burns freely without odor. 

Wool singes or boils with but very little flame and 
gives out a very disagreeable odor, as if burning horn 
or hair. 

Silk burns less freely than cotton. 

To tell cotton from linen, the microscopic test is 
the best. Under this the cotton fibre has the appear- 
ance of a flattish strip twisted while flax fibre is round. 
Page Twenty-Four 



like a worm. The presence of vegetable or animal fibre 
in silk may be detected by soaking a sample of the fab- 
ric in concentrated hydrochloric acid, which at once 
dissolves the silk, leaving the other fibres untouched. 

A neiv ivay to embroidery stem or outline stitch. 
Sew on the machine using rather a short stitch, along 
the stamped stem or scroll lines, being careful to follow 
exactly and putting paper underneath if goods is thin ; 
then thread a needle with embroidery cotton or silk of 
the desired weight and pass the needle and thread, eye 
first, under each stitch, keeping on the upper side of the 
material. 

When turning a hem of heavy linen, keep a glass 
of warm water at hand and dip the fingers into it fre- 
quently. The stiffness of the heavy linen will yield and 
the work may be accomplished very much more ac- 
curately and rapidly. 

Save the narroiv paper that bolts of ribbon come 
on. When stitching on thin materials use these pa- 
pers to place under the goods to avoid puckering. 

In putting lace insertion in tub dresses in such a 
way as to bear a strain, as in attaching a yoke to a 
waist or a flounce to a skirt, cut strips of bobinet a 
little wider than the insertion and place under it. This 
strengthens the lace without spoiling its beauty and 
adds much to the wearing quality of the dress. 

Marking tucks ivith the machine — When doing 
tucking on a fine garment by hand it is the easiest way 
to mark them on the machine first. Adjust the tucker 
and the stitch, remove the thread and stitch as though 
the thread were being used. The tucks will be nicely 
marked and the hand sewing can follow the holes 
pierced by the needle. It is much more quickly done 
and the tucks will be sure to be straight. 

Page Twenty-Five 



Skirts of serge, panama, etc. become slick and 
shiny looking before they are nearly worn out. To 
remedy this, place the skirt on a board and rub the 
shiny places with sand paper, not too hard, but just 
enough to rough up the nap. 

When tucks are too tvide to make tvltli a tucker 
or one does not want to take time to adjust the tucker, 
crease the goods along the line indicating the edge of 
the tuck, measure for the width of tuck and put the 
needle into the goods at the right distance from edge, 
attach the gauge to the plate of the machine, 
so that the edge of the tuck will touch the gauge and 
stitch. Be careful to keep the edges against the gauge 
the full length of the tuck. 

To keep light dresses dainty. Magnesia may be 
obtained either in powder or in square cakes, and it is 
very effective in cleaning laces and delicate fabrics. 
Sift or rub it on the parts to be cleaned and lay them 
away in a box or drawer where they will be undis- 
turbed for a day or so, and then shake them out. It 
is a very good plan to apply the magnesia in this way 
when putting away party dresses that have become 
slightly soiled. The magnesia absorbs the dust, -inJ 
when you take the dresses out to wear them the next 
time they will be fresh and dainty. The magnesia is 
also effective when applied in the same way for remov- 
ing grease spots. 

When hanging up dress skirts, be careful to fold 
them from the sides instead of the middle of the front 
and back, so that the front breadth may be kept 
smooth; otherwise a crease will soon develop that is 
very unsightly. 

Try the following plan for putting dress shields 
into a kimoyio waist when there seems no place to at- 
Page Twenty-Six 



tach them. Make a little bolero of thin lawn, buy 
washable shields and sew narrow elastic on them for 
shoulder straps and sew them into the bolero, stitch- 
ing the shields in all around the binding. Cut out the 
neck line in front and back or fasten the front with 
tapes. The bolero can be washed and used over and 
over again with different blouses. 

For the treadle of your seiving macliine make a 
flat pad of cretonne, Canton flannel or any similar ma- 
terial, and fasten on with tapes. The pad should be 
of the same shape and size as the treadle, and it not 
only protects the enamel but makes the work of the 
person doing the stitching much easier. 

Strive to excel. This means study and close ap- 
plication. Keep up with the times. Always try to 
have some late novelty that your competitors haven't. 
Have confidence in your ability, but be sure that it is 
sustained by your knowledge and not mere conceit. 
Never work nights and you will accomplish more in 
the end and have better health. Never allow custom- 
ers to set the price on your work — that is your busi- 
ness. 

Amount of material required for makiyig a suit 
will depend upon the width of goods and the style fol- 
lowed, the following table may be of some help. 

Broadcloth or any goods fifty inches wide will re- 
quire from six to ten yards, according to length of 
coat and amount of fullness in the skirt. 

For goods under fifty inches and over forty-two 
inches would require for a medium length coat and 
reasonably full skirt, eight yards. 

All silks and satins of ordinary width (say 
twenty-one inches) will require from twelve to sixteen 
yards, and the wider goods in proportion. 

Page Twenty-Seven 



METHODS OF INCREASING TRADE. 
Don't be afraid to ask for patronage. Every ad- 
vertisement you see in the papers and magazines is 
simply a request for business. By letting people know 
what you have to offer, you will be following the best 
rule for getting trade that has ever been discovered. 
When you open a dressmaking shop of your own, 
give the paper a small advertisement as frequently as 
the returns will justify the expenditure, remembering 
that advertising is like a garden — you must first plant 
the seed then cultivate the plant, and finally reap your 
harvest of success. It is no disgrace to advertise — to 
bid for business. The fact is, everybody advertises, in 
one way or another, the wares or service he has to sell. 
Even the preacher has sermons and his service to sell 
— over the pulpit — and so, by one means or another, 
solicits your attendance. The same is true of every 
profession and avenue of life. The dressmaker has a 
technical and trained service to sell, so if she would 
succeed she must let it be known. The business woman 
who hides her light under a bushel these days won't 
have a light to hide very long. We have come to agree 
with the commercial poet in that — 

"One step won't take you very far — 
You've got to keep on walking; 
One word won't tell folks who you are — 

You've got to keep on talking; 
One inch won't make you very tali — 
You've got to keep on growing; 
One little ad. won't do it all — 

You've got to keep them going." 
You must advertise for customers and, when ad- 
vertising secures them for you, you must please them 
and hold their trade and win their friendship, so they 
Page Twenty-Eight 



will come back to you again. It often takes time for 
advertising to have its full effect. Some people will 
not remember j-our name until they have met you 
several times — so it is in advertising. The first small 
advertisement has but little effect upon the public, but 
its appearance week after week will gradually bring 
results. Of course, your advertising must be to the 
point and state clearly just what services you are pre- 
pared to render. A good advertisement must attract 
attention, create desire, and convince the reader that 
you are the person she is looking for. If you make a 
specialty of children's clothes or boys' suits, or house 
dresses, or evening gowns or street suits, or anything 
that is likely to be in demand at the time you advertise, 
be sure to mention it. 

Keep the names and address of your customers 
and from time to time write them a little note, saying 
that about such and such a time you will have a few 
days to spare, and will be glad to serve them if they 
still have any sewing which needs attention. Or better 
still, call on them if your time will permit. Ask your 
customers if they know of anyone who is thinking of 
having some sewing done, and try to get your patrons 
to speak a good word for you to their friends. R-j- 
member, a living advertisement — a pleased customer 
— is the best kind of advertising in the world. In 
fact, try in every dignified way to increase the circle 
of your acquaintance, so that you will have a great 
number of people from whom to draw your trade. 

I know of an instance where a dressmaker had 
only four customers, yet they occupied her whole time, 
and, being women of wealth, paid her a good income. 
In the long run, however, it is better to have a great 

Page Twenty-Nine 



number of customers, so that if any move away or 
fall ill, it will not make great inroads on your earnings. 

HOW TO ADVERTISE YOUR SERVICES. 

First of all make an analysis of your ability and 
see exactly what you have to offer the public. If you 
are opening a shop of your own, you should advertise 
your location and state whether you are prepared to 
turn out work quickly, what work you make a spec- 
ialty of, whether you have the requisite sewing ap- 
pliances, whether you are well qualified for that par- 
ticular branch of dressmaking, what educational or 
professional equipment you have had, etc. 

If you intend to go out by the day to sew, you 
should use the "want" columns of the local papers, and 
tell exactly what you want. Be specific, do not make 
general statements. 

I know of several instances where women wanted 
sewing brought to them, and yet who advertised in 
such a general way that they received replies from 
women who wanted a seamstress to go to their homes. 
The advertisements, under those cicumstances, were 
practically thrown away, because they did not bring 
the dressmaker the kind of sewing that she wanted, 
and in the way she wanted it. In your advertising be 
sure to say that you will be glad to submit samples of 
work that you have done. Nothing is so convincing 
as such evidence of your ability. 

I would caution recent graduates against attempt- 
ing more than their experience might warrant. If you 
accept a position that is too difficult, you are likely to 
lose confidence in your own dressmaking ability. 

The following sample want ads should be used 
only as a suggestion and should not be copied too close- 
Page Thirty 



ly. Make your advertisement fit your own case. It 
will bring better returns. 

DRESSMAKER Ot EXPERI- 
ence desires to sew by the day at 
your home. Fast, capable worker. 
General experience. Boy's Buster 
Brown suits a specialty. Phone — . 

YOUNG WOMAN HAVING 

completed course in dressmaking, 
is in position to accept work from 
a limited number of customers. 
Dainty house dresses a specialty. 
118 Elm St. 

MRS. JONES' DRESSMAKING 
Parlors, 1000 Main St. Ten years' 
experience. Fashionable dressmak- 
ing and ladies' tailoring. Reason- 
able prices. Intelligent and prompt 
service. 

GRADUATE DRESSMAKER OF 

five years' practical and successful 
experience desires position as head 
of Dressmaking Department in good 
Department Store. Address 91, Star. 

THE ART OF PACKING A TRUNK. 
Few people know how or realize how important it 
is to pack a trunk correctly, that is, correctly enough 
to prevent a sad mixture of affairs at the end of a 

Page Thirty-One 



journey. Do not depend upon the baggage man to 
carry your thrunk with its top up and to handle it with 
any degree of carefulness or you will be sadly disap- 
pointed. His aim is to get as many and get them to 
the train in the quickest time possible with no thought 
as to what the trunk contains, and to his mind, it is 
just as well to have it wrong side up or end side up 
whichever comes handiest. 

In these days when everything is being done to 
increase the comfort of traveling, the trunk manufac- 
turers have also kept pace with the time, until now 
the trunks of today no more resemble those of even a 
decade ago than Robert Fulton's side-wheel steamboat 
puffing up the Hudson in 1807 would resemble a 
modern and up-to-date merchant steamer. 

The trunks of today are light and conveniently 
made to hold anything from a tooth brush to an im- 
mense hat. When going on a long journey the best 
trunk is one that has many compartments in the upper 
tray in which small articles and accessories may be 
■placed and the partitions will prevent them from slid- 
ing from one end of the trunk to another. These par- 
titions are made adjustable with little grooves so that 
the compartments may be made larger or smaller as 
the article requires. 

In packing a trunk, heavy things, like bosks, shoes, 
etc. should always be put in first, then underwear, 
waists, dresses, etc., should follow in order, being very 
careful to pack each article securely, leaving no room 
for them to slide around in ; otherwise when the trunk 
is turned wrong side up there will be a general rush, 
of things to accommodate themselves to the new posi- 
tion. 

Page Thirty-Two 



The most dangerous thing to carry in a trunk is 
a bottle or glassware. Part of this danger, however, 
may be eliminated, if you will purchase some cotton 
batting before packing, also some tissue paper and 
wrap . well in these. Rubber bags are indispensable 
aids in packing into which may be placed sponges, 
washrags, soaps, etc. to prevent their coming in con- 
tact with anything else. 

There are special hat trunks or boxes now on sale 
which are wonderfully fitted out and padded and equip- 
ped with tapes and pins in order to attach a hat from 
all sides to prevent it from being crushed. They are 
square in form and very deep. There are also ward- 
robe trunks which stand on end, and which are fitted 
out inside with a series of frames that hold each gown 
pressed out flat, much as it would hang in the ward- 
robe. 



Page Thirty-Three 



LESSON No. 30 



Cije American ^gstem 
of Bressmafetng 

TAUGHT ONTA' BY THE 

American College of Dressmaking 

Kansas City, Mo. 
MISS PEARL MERWIN, Supervisor. 

LESSON NO. 30 

HOUSEHOLD RECIPES. 

WASHING FLANNELS. 

As one wash is sufficient to ruin flannels, unless 
the work is done in a proper manner, particular at- 
tention should be given their first launder. If this is 
done properly they will not be apt to shrink so much 
later on. The secret of washing flannels is to have 
the changes of water of the same temperature and 
never rub soap or anything directly on the garment. 
Keep the temperature of the water the same through- 
out the entire process, as sudden changes from hot to 
cold will shrink any woolen fabric. Flannels should 
have a clean suds prepared especially for them and 
should be well shaken before being put in water to 
free them from lint and dust, and the water must be 
warm, but not boiling, as flannel shrinks when put 
into boiling water. Stir two tablespoonfuls of a good 
washing powder in a quart of lukewarm water until a 
strong lather is produced and pour this into a tubful 
of water of the same temperature before the flannels 
are put in. Lay the flannels in the suds and cleanse by 

Page Three 



lifting up and down and rubbing with the hands. 
From this water lay them into a second prepared 
exactly like the first and of even temperature. Rinse 
well in this and lay them in clear, warm water. Wring 
through the clothes wringer, pull and shake well and 
dry in warm temperature. While drying, shake, 
stretch and turn them several times and they will keep 
soft without shrinking. If possible press before per- 
fectly dry, but after they are dry a damp cloth should 
be placed between the iron and the garment. 

Blankets are washed in the same manner, though, 
of course, they are not ironed. All work of this kind 
must be done rapidly, for the chief point in washing 
flannels is not to let them lie in the water a moment 
longer than necessary. The fumes of a lighted match 
of the old-fashioned variety will bleach out the rem- 
nants of stains in many instances in flannels. 

HOW TO WASH AN INFANT'S UNDERWEAR. 

The baby's underwear should be of flannel, as soft 
and fine as the means at hand will permit, and kept 
in the best possible condition by washing it properly. 
If washed carelessly they will shrink and be so rough 
that they will irritate the tender flesh almost beyond 
endurance. 

The following method has been used successfully 
for years and the little garments retain their soft, 
fleecy look until worn out : Use water that is as hot 
as you can bear your hand in comfortably to cleanse 
and purify the garments. Dissolve a little borax in it 
and add enough soap to make a strong suds; wash 
the flannel through two waters prepared in this way — 
plunging up and down and rubbing gently between the 
hands. Do not rub soap on the flannels, as this will 
thicken the texture. Rinse through clear water of the 
Page Four 



same temperature as that used for washing and pass 
them through the wringer. Pull and stretch each in 
shape before hanging out. This is quite important, as 
the tiny wool fibers interlace, causing them to become 
hard and shrunken, if neglected. After drying, spread 
them on the ironing board, cover with a damp cloth 
and iron over this, pressing down heavily. Do not 
have iron too hot. 

WASHING LACES. 

There are several methods used in washing laces, 
but the most important part is the drying and hand- 
ling carefully so as not to break the threads of the 
mesh. Always thoroughly dust before washing. After 
washing stretch on a board covered with a heavy pad 
of flannel, pin out the points right side up and leave 
until dry. Tlien lightly iron on wrong side, lengthwise 
of the lace to raise pattern. Never put the iron direct- 
ly on the lace; always cover first with a cheesecloth, 
tissue paper or muslin. Irish, Tatting and Guipure 
should not be iron. 

If after washing, the lace needs a little stiffening, 
dissolve a little gum arable and mix with rinsing water. 
If desired cream or ecru color, rinse in coffee ; if cream 
or ecru with a pink cast, rinse in tea; if lemon, rinse 
m saffron tea. Other shades may be obtained from 
Diamond dyes or tube paints and gasoline. 

Method 1 of Washing — Make a warm suds of 
Ivory or Castile soap and soft water, add a little 
ammonia (a tablespoon to gallon of water) . Shake the 
dust out of lace, place all in a mason jar and shake 
frequently. Change the water when necessary. Rinse, 
pin right side up carefully to dry. When nearly dry 
unpin and iron. 

Method 2. — Make suds as above, then with the 

Page Five 



hand gently dip and squeeze the lace. If spots are 
found in the lace spread this portion over the palm 
of the left hand and pat the spots with a soft cloth 
saturated with the suds. 

Method 3. — Very tender lace may be wound about 
a glass bottle and the end basted so it will not unwind. 
Immerse in the suds, when lace is thoroughly wet, re- 
move the bottle, press out the suds between the two 
hands. Replace the bottle, redip and continue until 
lace is clean. Rinse in clean water and pin to pillow 
or pad to dry. 

Method 4. — For lace yellow with age steep in hot 
milk several hours, pat with hands if neces^SiYy. 
Rinse, stretch on board, pin out points until dry, 
lightly iron to raise pattern. 

TO CLEAN BLACK LACE. 

Method 1. — Steep lace in milk 10 minutes, patting 
between hands. Lay out on a cloth and iron with a 
tissue paper over the lace. 

Method 2. — Dip in equal parts of alcohol and 
water, patting between the hands. Iron as before. 

Method 3. — This may be used for colored lace 
also. Fold the lace and baste to a piece of muslin, to 
hold it smooth. Immerse the lace in beer and allow to 
soak awhile. Allow the lace to partially dry, then re- 
move from the cloth and press on heavy pad. If lace 
appears stiff, brush lightly or pull with the fingers. 

TO CLEAN LACES WITHOUT WASHING. 

Silk laces and others too fragile to wash may be 
cleaned in one of several ways: 

Method 1. — If lace is very dirty shred some Ivory 
soap in a little hot water, mix in plenty of gasoline. 
It is best to leave the lace in several days, shaking 
thoroughly at intervals, when clean rinse in clean gaso- 
Page Six 



line. Pull into shape while drying in the open air and 
press (on heavy pad) lightly under muslin, cheese 
cloth or tissue paper. Never let the iron touch the 
lace. 

Method 2. — Sift a little borax into paper. Lay 
lace out smoothly on this, sift more borax on the lace 
and lay another fold of lace. Continue until all the 
lace is laid with borax between. Lay on another pa- 
per. Place under a weight for several hours. Shake 
out all borax or it will rot the lace. 

Method 3. — Magnesia may be used in the same 
way and will not rot the lace so may be left under 
weight much longer. (Three days is long enough). 

Method 4. — Butter or Ecru Colors may have the 
same process (as above desribed) applied using corn 
meal. 

Laces that are seldom used or worn should be 
rolled upon strips of dark blue paper to keep them 
lirm without creasing them. Do not fold fine cobweb 
lace when putting it away; drop it carelessly into a 
satin-lined box and allow it to remain in the position 
you place it; do not finger or move it about. 

TO TAKE MILDEW FROM CLOTHES. 

Mix soft soap with powdered starch, half as much 
salt, and the juice of a lemon; lay it on the part with 
a brush ; let it lay on the grass day and night, till the 
stain comes out. 

TO REMOVE IRON RUST. 

To remove iron rust from clothing mix a tea- 
spoonful of oxalic acid in three tablespoonfuls of hot 
water and apply to the spots. It will bleach out the 
rust, and if washed afterward with clean water will 
not hurt the goods. 

Page Seven 



Another method is to tie up the spots with a little 
cream of tartar, and place in cold water and let come 
to the boiling point, when the rust spots will disap- 
pear. Lemon juice and salt are also good for the same 
purpose. 

TO REMOVE INK. 

To remove ink from white linen, dip the spots 
immediately in pure melted tallow, then wash out and 
the ink will have disappeared. 

TO REMOVE GREASE SPOTS. 

To cleanse grease from wool or silk, apply a fluid 
made by dissolving two ounces of white soap and one- 
half ounce of borax in a quart of warm soft water. 
Pour a small quantity into a bowl, add the same amount 
of water and sponge the goods with it. After it is 
clean sponge with clear water and hang up to dry. 

Another method is aqua ammonia, two ounces; 
soft water, one quart; saltpeter, one teaspoonful; 
shaving soap in shavings, one ounce; mix together; 
dissolve the soap well, and any grease or dirt that 
cannot be removed with this preparation, nothing else 
need be tried for it. 

TO REMOVE FRUIT STAINS. 

Fruit stains may be removed from clothing by 
pouring boiling water through them. Ink spots may 
be removed with sour milk, and afterwards rubbed 
with a piece of lemon on which some salt has been 
sprinkled. 

TO REMOVE PAINT. 

Paint may be removed by washing the spots in 
turpentine. If the cloth is too heavy to be washed, put 
two parts ammonia and one part turpentine in a bottle 
Page Eight 



and shake well. Apply this until the paint is softened, 
and it can be scraped off. 

Spots of paint, grease, pitch or oil may be re- 
moved from silk or linen by rubbing with purified ben- 
zine applied with a cloth or sponge. To destroy the 
odor of benzine add a little oil of lemon. 

FOR REMOVAL OF STAINS AND SPOTS. 

The following methods of removing spots and 
stains from clothing are given on the authority of high 
chemical and textile authorities. They are believed to 
be trustworthy: 

Grease — Wbite goods, wash with soap or alkaline 
lyes. Colored cottons, wash with lukewarm soap lyes. 
Colored woolens; the same or ammonia. Silks, absorb 
the grease with French chalk or fuller's earth, and dis- 
solve aw^ay with benzine or ether. 

Oil Colors, Varnish, and Resins — On white or col- 
ored linens, cottons or woolens, use rectified oil or tur- 
pentine, alcohol, lye and soap. On silks, use benzine, 
ether and mild soap, very cautiously. 

Stearine — In all cases, use strong, pure alcohol. 

Vegetable Colors, Fruit, Red Wine and Red Ink — 
On white goods, sulphur fumes or chloride water. Col- 
ored cotton and woolens, wash with lukewarm soap- 
lye or ammonia. Silk, same but more cautiously. 

Alixarine Inks — White goods, tartaric acid; the 
more concentrated the older the spots are. On colored 
silks, diluted tartaric acid should be applied cautiously. 

Blood, and Albuminoid Matters — Steep in luke- 
warm water. If pepsin or the juice of carica papaya 
can be-procured, the spots are first softened with luke- 
warm water, and then either of these substances is 
applied. 

Page Nine 



Iron Spots and Black Ink — White goods, hot 
oxalic acid, diluted muriatic acid, with little fragment 
of tin. On fast dyed cottons and woolens, citric acid 
cautiously and repeatedly applied. 

Acid, Vinegar, Sour Wine, Must, Sour Fruits — 
White goods, simple washing, followed up by chloride 
water if a fruit color accompanies the acid. Colored 
cottons, woolens, and silks are very carefully moistened 
with diluted ammonia, with the finger end. (In case 
of delicate colors, it will be found preferable to make 
some prepared chalk into a thin paste with water, and 
apply to the spots.) 

Tannin from Chestnuts, Green Walnuts , etc., 
or Leather — White Goods — hot chlorine water and 
concentrated tartaric acid. Colored cottons, woolens, 
and silks, apply diluted chlorine water cautiously to 
the spot, washing it away and reapplying it several 
times. 

Tar, Cart Wheel Grease, Mixture of Fat, Resin, 
Carbon and Acetic Acid — On white goods — soap and 
oil, turpentine, alternating with streams of water. 
Colored cottons and woolens, rub in with lard, let lie, 
soap, let lie again and treat, alternating with oil of 
turpentine and water. Silks the same, more carefully, 
using benzine instead of oil and turpentine. 

TO WHITEN YELLOW LINEN. 

Linen garments which have become yellow from 
time, may be whitened by being boiled in a lather 
made of milk and pure white soap, a pound of the lat- 
ter to a gallon of the former. After the boiling process 
the linen should be twice rinsed and a little bluing 
added to the last water used. 

Cloth that has turned yellow from long standing 
may be whitened by soaking it in buttermilk a few 
Page Ten 



days. White clothing that has been discolored from red 
calico, or streaks that are often found on napkins or 
towels, which by mistake have been washed with the 
white goods, may also be removed by soaking in but- 
termilk. 

SCORCHED LINEN. 

Peel and slice two onions, extract the juice by 
pounding and squeezing; add to the juice half an ounce 
of fine white soap, two ounces of fuller's earth, and 
half pint of vinegar; boil all together. When cool, 
spread it over the scorched linen and let it dry on; 
then wash and boil out the linen, and the spots will 
disappear, unless burned so badly as to break the 
thread. 

WHITENING YELLOW FLANNELS. 

Flannel that has become yellow from being badly 
washed can be whitened by soaking it for two or three 
hours in a lather made of one-quarter of a pound of 
curd soap, two teaspoonfuls of powdered borax, and 
two tablespoonfuls of carbonate of ammonia, dissolved 
in five or six gallons of water. Boil the soap in small 
shavings in water until it dissolves, then add to it the 
other ingredients. Let the flannel lie in it until it looks 
whiter, then squeeze and press it, and rinse in bluing 
water, and hang in the hot sun to dry. Iron while 
still damp. 

TO CLEAN RIBBON OR SILK. 

Where ribbon is only crushed, pull out all threads 
and carefully brush, using a clean piece of velvet or 
plush to remove dust. Taffeta and light weight weaves 
may be freshened by pressing under clean tissue pa- 
per. If badly crushed, dampen slightly by brushing 
lightly with a soft cloth, wrung out of clear water. 
If the ribbon is satin, brush with the nap. Place a 

Page Eleven 



clean piece of cheese cloth over the ribbon and iron 
with a moderately hot iron. Run the iron lengthwise 
one direction until the ribbon is thoroughly dry. For 
heavy ribbons the cheese cloth may be dampened and 
then pressed over the ribbon. 

TO WASH COLORED SILK. 

Some ribbons may be successfully washed in 
warm suds of soft water and white soap. Dry, dam- 
pen in clear water in which dissolve a very little bit 
of gum arable. Never squeeze. Press under clean 
cheese cloth with moderately hot iron. 

Colored silk may be washed in same way, rinse 
in warm and then cold water in which a tablespoon- 
ful of salt and some vinegar have been added to pre- 
serve the color. Squeeze out water, roll evenly in 
clean cloth; beat well with the hands and iron under 
muslin at once with moderately hot iron. When nearly 
dry it may be ironed without muslin. (Wet the silk in 
the rinse water containing vinegar and salt before 
washing) . 

Ribbons may be washed in equal parts of alcohol 
and water. Never squeeze before rinsing. 

TO WASH WHITE RIBBON. 

Steep in borax and water and then wash the same 
as colored silk except in the last rinsing water a large 
teaspoonful of methylated spirit is added to each pint 
of the cold water instead of the salt and vinegar. This 
gives a gloss to the silk. 

TO RESTORE COLOR TO FADED RIBBONS. 

Add a little pearlash to soap lather, place the 
faded ribbons therein and their natural color will be 
restored. Silk goods may also be restored when treat- 
ed in this manner. 
Page Twelve 



TO RESTORE COLOR. 

When a color on a fabric has been accidentally 
or otherwise destroyed by acid, ammonia is applied to 
neutralize the same, after which an application of 
chloroform will, in almost all cases, restore the orig- 
inal color. The application of ammonia is common, 
but that of chloroform is but little known. 

TO SET COLORS IN COTTON MATERIALS. 

Two cups of salt dissolved in ten qaurts of cold 
water is the proper mixture in which to dip cotton 
goods before washing them. Goods of black and white, 
slate color, brown, or their shades, may then be 
washed with safety, for the salt sets the colors. After 
they have been dipped in the solution hang them in the 
usual way. Calicoes and muslins do not require hot 
suds and should never be allowed to soak long in the 
water. Wash quickly, turn the wrong side out, dry in 
the shade, and always iron on the wrong side with a 
moderately hot iron. 

Very delicate cotton or colored things of any de- 
scription, silk, or flax embroideries and the like, should 
be put in bran water with soap jelly and not soap 
powder or soda, then rinsed in salt and water. To 
make the bran water, tie up a quart of bran in a mus- 
lin bag, boil it and let the water cool until it is almost 
tepid. Wash the articles thoroughly and quickly, and 
rinse in cold, salt water, adding a little vinegar if the 
colors need reviving. Pass through the wringer, hang 
in the shade, and iron on the wrong side before quite 
dry. Cretonne may also be washed in the same way. 

Salt or beef's gall in the 'water helps to set black. 
A teaspoonful of spirits of turpentine to a gallon of 
water sets most blues, and alum is very efficacious in 
setting green. Black or very dark calicoes should be 

Page Thirteen 



stiffened with gum arabic — five cents' worth is enough 
for a dress. If, however, starch is used, the garment 
should be turned wrong side out. 

TO WASH MERINOS AND SILKS. 
The following directions for washing merinos, 
lambs' wool and silk underclothing may be useful : Use 
one pound of dissolved soap in four gallons of warm 
water, in which rinse well the articles to be washed, 
df awing them repeatedly through the hand; wring 
them as dry as possible to remove the soap ; rinse them 
again briskly in clean, lukewarm water; wring and 
stretch them to their proper shape, and dry in open 
air if possible. 

TO CLEAN BLACK CASHMERE. 

To clean black cashmere, wash in hot suds in 
which a little borax has been placed. Rinse in bluing 
water — ^very blue — and iron while damp. If carefully 
done, the material will look equal to new. 

CARE OF VELVET. 

How to brush velvet is a thing, easy as it seems, 
not known to everybody. The whole secret lies in the 
management of the brush. Take a hat brush that is 
not too soft but has the bristles elastic, and that will 
return at once to their original state after being 
pressed aside. Hold this firmly under the palm of the 
hand, in the direction of the arm, and with the bristles 
downward, and pressing them first gently into the sub- 
stance of the velvet, then twist around the arm, hand, 
and brush altogether as on an axis, without moving 
them forward or backward. The foreign matters will 
be drawn up and flirted out of the frock without injury 
to the substance of the velvet; and the brush must be 
lifted up and placed in a similar manner over every 
Page Fourteen 



part required to be brushed. By this means velvet will 
be improved instead of deteriorated, and will last for 
years. 

ANOTHER METHOD. 

Remove all threads, leave no ends or knots. Take 
out all shirring or plaiting. Turn the velvet pile down- 
ward on the table and beat gently with small switches 
(just as it is done with a brussels carpet) this will 
loosen all dust. Then thoroughly brush the back, turn 
the velvet over and as carefully brush the pile, using 
a medium stiff hat brush. Again brush the pile, using 
a piece of clean velvet or plush. 

Now if there are soiled streaks try taking them 
out with gasoline or benzine, rub the streaks with a 
clean white cloth. Shake the velvet after this until it 
is perfectly dry. 

Steaming the velvet may help to freshen it. Cover 
the iron with a cotton cloth at least twenty-four inches 
square, folded four times, wet and wring almost dry. 
Commence at one end of velvet, holding it as much as 
possible on the straight, with the back of velvet on 
the cloth, and as the steam rises through the pile take 
soft velvet brush, brushing very gently against the 
nap, continuing until the whole piece is freshened. It 
is much easier if two people work together. 

TO SPONGE VELVET RIBBON. 

Sponge the satin side of the velvet ribbon with 
ammonia and water, securing one end oi' the ribbon to 
a table and holding the other end in the hands. Iron 
it on the satin side while damp, as this method pre- 
vents the pile from being crushed. 

TO RENOVATE PLUSH. 

Whip and brush the plush the same as velvet. 

Page Fifteen 



Spread the plush on a board and sponge entire sur- 
face with warm rain water to which a little ammonia 
has been added. (1 tablespoonful to a quart). Take 
a dry sponge and rub the plush until it is dry. Then 
brush it with a soft velvet brush. 

TO RESTORE THE FINISH TO OLD GOODS. 

The fine glossy finish that comes on certain grades 
of new woolen goods must sometimes be restored to 
make an article look well. Thus if a stain is made on 
the goods the gloss is removed when the stain is 
washed out. This leaves a dull spot on the material, 
spoiling the general effect of the whole piece. To re- 
store the original glossy finish the cloth should be laid 
on the table or other smooth surface and carefully 
brushed with weak gum water. Dip a clean tooth 
brush in the water and lay the gum water on carefully 
and evenly. Then place a sheet of clean white paper 
over it, and either press it with a lukewarm iron or 
put a weight on the paper and leave it there until dry. 
When the cloth is dry the dull spot will have disap- 
peared, and if the operation has been performed suc- 
cessfully there will be no break in the glossy finish 
apparent to the eye. 

To obtain the glossy effect on linen, it is advisable 
w*hen washing to put a little gum arable in the starch. 
Dissolve a half teaspoonful of the gum arable in boil- 
ing water, and when cold add to the starch. The linen 
will then have a beautiful gloss finish when ironed. 

TO MAKE OLD CASHMERE LOOK NEW. 

Soak the goods in strong soft-soap suds two 
hours; then, having dissolved one ounce of extract of 
logwood in a bowl of warm water, add warm water to 
cover the goods, which should be taken from the suds 
Page Sixtesn 



without wringing-. Allow the goods to stand in the 
logwood water over night; in the morning rinse in 
several waters without wringing. To the last water 
add one pint of sweet milk, which will stiffen the goods 
a little; iron while quite damp. 

TO DETERMINE THE QUALITY OF SILK. 

The following directions for detecting the spur- 
ious from the genuine articles in black silk will be 
found useful : Take ten fibers of the filling in any silk, 
and if on breaking it they show a feathery, dry, and 
lack-luster condition, discoloring the fingers in hand- 
ling, you may at once be sure of the presence of dye 
and artificial weighting. Or take a small portion of 
the fibers between the thumb and forefinger and very 
gently roll them over and over and you will soon de- 
tect the gum mineral, soap and other ingredients of 
the one and the absence of them in the other. A sim- 
ple but effective test of purity is to burn a small quan- 
tity of the fibers ; pure silk will instantly crisp, leaving 
only a pure charcoal; heavily dyed silk will smolder, 
leaving a yellow, greasy ash. If on the contrary you 
cannot break the ten strands, and they are of a natural 
luster and brilliancy, and fail to discolor the fingers 
at the point of contact, you may be well assured that 
you have pure silk, that is honest in its make and dur- 
able in its wear. 

CLEANING BLACK SILK. 
One of the things "not generally known," at least 
in this country, is the Parisian method of cleaning 
black silk ; the modus operandi is very simple, and the 
result infinitely superior to that achieved in any other 
manner. The silk must be thoroughly brushed and 
wiped with a cloth, then laid flat on a board or table, 
and well sponged with hot coffee, thoroughly freed 

Page Seventeen 



from, sediment by being strained through muslin. The 
silk is sponged on the side intended to show; it is al- 
lowed to become partially dry, and then ironed on the 
wrong side. The coffee removes every particle of 
grease, and restores the brilliancy of silk without im- 
parting it to either the shiny appearance or crackly 
and papery stiffness obtained by beer, or, indeed, any 
other liquid. The silk really appears thickened by the 
process, and this good effect is permanent. Our read- 
ers who will experiment on a tie or cravat will never 
again try any other method. 

TO RENOVATE FURS. 

Never use camphor as a moth preventative on 
chincilla or sable. 

Most dark furs are freshened by giving them a 
good brushing and shaking. They may then be 
cleaned by heating bran and rubbing it well into the 
fur. Wrap up for a day, brush every particle of bran 
from the fur and shake thoroughly. Or cover the 
bottom of a frying pan with flour, stirring until it is 
a dark brown, then rub into the fur. Brush out and 
comb the fur if it is long haired. 

Light furs such as chincilla, squirrel and ermine, 
white flour is to be used. Heat the flour, but do not 
brown and rub into the pelt with a piece of white vel- 
vet. Change flour frequently keeping as hot as pos- 
sible. This will usually remove the oil. Never put 
away white fur when soiled. Clean and wrap in blue 
tissue paper to prevent turning. 

TO CLEAN AND CURL FEATHERS. 
White and light colored ostrich feathers, aigrettes 
and paradise plumes may be cleaned in gasoline. Hang 
in air to dry. When thoroughly clean they may be re- 
Page Eighteen 



tinted with tube paint and gasoline. If the white 
feathers are very dirty make a hot suds of white soap 
and soft water, adding an equal amount of gasoline. 
Let the feathers soak in this all day, shaking at in- 
tervals. Rinse in clean gasoline. 

Black feathers are greatly freshened by dipping 
in wood alcohol. Shake them out rapidly. 

To curl feathers use a curling knife, the dull edge 
of a (kitchen) paring knife, or paper knife blade. 
Begin near the rib and draw the flues (take up three 
or four each time) evenly between the thumb and knife 
blade. Heavy pressure gives a kinky ugly curl. 

Sometimes feathers may be sufficiently curled by 
hanging over a stove, radiator or where it will be sub- 
ject to some other dry heat. 

If feathers are to be tinted in tube paint and gaso- 
line, it is better to curl first. 

TO MAKE WILLOW PLUMES. 

It is necessary to have one good feather each 
flue of which is knotted the same as in knotting 
thread. The flues of old plumes are then used. Tie 
one loop in the flue (as the first knot in tying a little 
girl's hair ribbon) slip it over the knot of the good 
feather and draw tight. Some willow plumes have 
just the two flues tied together, others three or four. 

TO CLEAN SILVER AND GILT ORNAMENTS. 

Rub with alcohol and then burnish with Chamois, 
Powdered pumice stone is sometimes used. Dampen 
tooth brush and dip in the powdered pumice, then 
scour the tarnished ornaments until brightened. 



Page Nineteen 



MODIFICATIONS AND IMPROVEMENTS. 

Lesson 1, page 28, 8th line in 2nd paragraph 
change "across' to "under." 

Lesson 2, page 8, 4th line in 5th paragraph chaxi^^'e 
"neck' to "back." 

Lesson 2, page 12, instructions for placing point B 
should read, "Make B Y2 inches from the right end 
of Line 1." 

Lesson 2, page 13, 1st sentence in 2nd paragraph 
change "armhole" curve to "neck" curve. 

Lesson 2, page 13, in drawing Line 9 instructions 
should read, "place the 2 1-6 inch mark on square on 
P," etc. 

Lesson 2, page 16, 3rd line in 2nd paragraph 
change "armhole" curve to "neck" curve. 

Lesson 2, page 19, (near top of page) in locating 
S instructions should read, "S is the dart length minus 
1-6 neck measure from P." 

Lesson 2, page 19, after drawing Line 10, draw 
the neck curve from P to the intersection of Lines 8 
and 10 as previously given. 

Lesson 2, page 20, make 9th line read, "bb is 1-6 
of 14 waist measure to the left of aa." 

Lesson 2, page 23, 12th line from bottom should 
read, "Lines 21, 23 and 25 are also drawn as corre- 
sponding lines in other draft.' 

Lesson 3, page 4, in 5th line of the 5th paragraph 
cnange "crossways" to "lengthwise." 

Lesson 3, page 6, 1st sentence in 2nd paragraph 
should read, "Lay the center front section on the lin- 
ing with the waistline on a straight I'engthwise 
thread." 

Lesson 3, page 6, in last line on this page change 
"cross" thread to lengthwise" thread. 
Page Twenty 



Lesson 3, page 7, 1st sentence in 1st paragraph 
should read, ''Next lay the center back section so that 
Line 19 will come on the straight crosswise thread of 
tne lining and pin." 

Lesson 3, page 13, 1st sentence in 1st paragraph 
should read, "As a rule, the distance between Lines 
7 and 8 should not be more than 11/4 inches." Make K 
half-way between Lines 1 and 2, raised 1/2 inch. 

Lesson 4, page 21, 1st line, change bust "measure" 
to bust "line." 

Lesson 5, beginning on page 9. 

An Improvement in the Mannish Shirt Waist Draft in 
Lesson 5 and Coi'rection in the Sleeve 
Draft for This Waist. 
Make the shirt waist with these exceptions — add 
1 inch to the armhole measure, extend the shoulder 
line from 14 to 14 inch, according to the length of 
shoulder desired, drop the armhole curve from % to 1 
inch below the 
bust line. Place 
E and I at the 
end of the ex- 
tended lines and 
draw the under- 
arm line its full 
length midway 
between L and K, 
beginning it at A. 
Draw a dotted 
line representing 
the original arm- 
hole curve of 

shirt waist be- ''''« 

fore shoulder lines were extended, that is, from D to 

Page Twenty-One 





L and H to K. (See dotted armhole lines in Fig. I.) 
Then place B and C i^ of an inch inside of dotted 
line, making C about 2 inches 
below shoulder point. Adjust the 
square to touch points C, B and 
A, and draw a line from C to A, 
turn the square slightly and con- 
tinue the line from C to E. Draw 
the back of armhole curve in a 
similar manner. (See Fig. I.) 
Make a curve in the armhole just 
above A to obviate the sharp point 
at A, and trace on this curve. 

To draft a shirt sleeve, fold a 
piece of paper through the center 
and draw Line 1 along the fold. 
Placing long arm of square along p^^ jj 

Line 1, face up, draw Line 2 along its short arm about 
an inch from the edge of paper, making it 9 or 10 
inches long. Measure down from 21^ to 3 inches, de- 
pending on the length of shoulder used, and make A 
on Line 1. Line 9, or under part of sleeve joins to 
front of waist. 

Make B (Fig. II) 14 of the original armhole 
measure on Line 2 from the junction of Lines 1 and 2. 
Squaring on Line 1 at A, draw Line 3, making it the 
length of 1/2 of the armhole measure, and place C at 
its other extremity. (See Fig. II.) 

From A measure down on Line 1 the length of 
inside measure, minus the width of cuff, in this case 
21/2 inches, and make D. Squaring on Line 1 at D, 
draw Line 4, making it the length of I/2 the hand meas- 
ure plus 11/^ inches, and place E at its other end. 
Make F 1 inch from E on Line 4. Squaring on Line 
4 at F, draw al ine 21/2 inches long, or the width of 
Page Twenty-Two 



cuff desired, and place G at its lower end, then draw 
Line 6 from G straight across to Line 1. Draw Line 
7 from C to E. 

From B measure down IV2 inches and make H. 
Draw Line 8 from C to junction of Lines 1 and 2 by 
placing B on square on C and letting curved edge 
touch the junction. Draw Line 9 from H to junction 
of Lines 1 and 2 by placing A about half-way between 
H and the junction of these lines. Continue it on to 
C from H by placing R in sleeve curve on reverse of 
square on H and letting the curve touch C where it 
will. 

Fold Line 1 over on Line 7 and it will be seen that 
D falls about 14 i^^ch below E. Draw a line from E 
to this point and then curve slightly to about the half- 
way point between F and D. (See Fig. IL) 

Trace Line 9 its full length, also trace the cuff on 
to another piece of paper, and cut along Lines 8, 7, 
dotted line below E and Line 4 to D. Open up draft 
and cut along the traced Line 9 for under part of 
sleeve curve. Line 10 represents the opening of sleeve 
which should come on the upper part of sleeve about 
2V2 inches from its back edge; therefore measure in 
this distance from E on Line 4 and draw Line 10 par- 
allel with Line 7, making it about half the cuff length. 

Lesson 5, page 13, in 1st sentence of 1st para- 
graph cancel the words "on wrong side." 

Lesson 5, beginning on page 15: 

On Account of the Past Popularity of the Kimono 

Waist and the Present Variation of It in the Long 

Shoulder Effect, We Are Giving You Here- 

ivith a Simple Development of It From 

the Plain Shirt Waist Draft. 

Take the shirt waist pattern, as shown in Fig. IIL 

Page Twenty-Three 



For the measures used in the lesson (36-inch bust, 
etc.), place the shoulder points ll^ inches apart, with 

A 1/^ inch from front and % 
of an inch from the back 
shoulder points. 

From A measure through 
front bust line a distance 
equal to one-half the armhole 
measure (taken comfortably 
loose) to a 
point 1/2 inch 
to the left of 
the underarm 
line and make 
B. Draw a line 
from B the 
fuh length of 
the underarm 
measure, making it parallel 
to the original underarm line, 
and place C at its termina- 
tion. Curve the line out be- 
low C according to one's 
form. 

The center back is repre- 
sented by Line 1 on original 
draft instead of Line 19. 
Then from end of waistline, nearest underarm in back, 
measure out about IV2 inches and make D. It may be 
necessary sometimes to take out a little at the under- 
arm in fitting, but since it is so essential to the com- 
fort and fit in this style waist that the underarm line 
come well toward the front, it is best to cut the pat- 
tern with plenty of room. 

Page Twenty-Four 




Fig. III. 



stick a pin point through C and on through D, 
pinning the waistlines together at the underarm; lay 
the double thickness of paper down on the table and 
crease on a line which is represented by Line 1 in Fig. 
III. 

Square on Line 1 at point equal to the distance 
from neck curve over the shoulder point to elbow 
and draw Line 2, which is made one-half the elbow 
measure plus 14 inch. Draw Line 3 by connecting 
lower end of Line 2 with B. 

If the elbow sleeve is to be gathered into a band, 
extend Line 1 an inch and lengthen Line 2 according 
to the fullness desired and draw new Lines 2 and 3. 
(See dotted lines.) When a longer sleeve is wished, 
take the measure to the desired length in the manner 
described and extend Line 1 accordingly. Line 2 will 
depend on the style of sleeve at the bottom. 

Make a curve at the intersection of Lines 3 and 
4 to be used as a stitching line. Then with the paper 
folded on Line 1, trace on Line 4, the curve at inter- 
section of Lines 3 and 4, also Lines 3 and 2. Unfold 
and trace the new waistline from C in the front and 
D in the back, also center back and neck curve. In 
cutting, make a very generous seam allowance along 
the underarm and sleeve portion in case of any mis- 
take in the measures and a little more material should 
be needed in fitting. 

For very square shoulders it will be necessary to 
spread the pattern more than I14 inches, and, on the 
other hand, for more sloping shoulders the pattern 
will need to come closer together at the shoulder points. 
This style is not suitable, however, for those with 
drooping shoulders. 

Page Twenty-Five 



Sometimes an underarm, section is used in the 
Kimono Waist. This section is made on the straig-ht 
of the material from 2 to 2'/_> inches wide. In some 
cases it extends from the bottom of the waist to the 
bottom of the sleeve, in others from the bottom of the 
waist, to about IV^ inches to the right of B on Line 3 
(Fig. Ill), beginning to curve at the curve on draft 
and finishing in a point. (See fashion magazines.) 
This section sometimes extends only from the bottom 
of the sleeve to a point about IV2 inches below B, and 
is shaped as just described. This manner of finishing 
the underarm section takes the place of a gusset some- 
times used. In using these sections, decrease the front 
along the line or lines where the section is used, one- 
half the width of section, and trace through to the 
back of draft on the line marking the decrease. 

The long shoulder effect is used both with the 
front and back of waist cut all in one, also with a seam 
on the shoulder. For the former, cut as has just been 
described, except that only the upper part of the sleeve 
is cut with the waist portion. (See Line 5 in Fig. III.) 
In this case Line 5 is commenced one inch to the right 
of B and is drawn at right angles with Line 1. Line 5, 
however, may be dropped lower on the sleeve portion 
if desired. The sleeve portion below Line 5 may be 
cut any style one wishes, but must be the same width 
at the top if there is to be no fullness where the sleeve 
and waist portions join along Line 5. 

In some models a shoulder seam is used in the 
long-shoulder effect, and in this case make the shoulder 
line from point where the neck lines in front and back 
meet through dot A. This is also the line that should 
be used in a waist with elbow or full length sleeve, 
where a seam extends along top of sleeve. In applying 
Page Twenty-Six 



a trimming band over the shoulder and top of sleeve, 
pin it on one side of waist when flitting, so that it will 
be sure to be in t?ie correct position. 

Lesson 5, page 24, 2nd sentence in 1st paragraph 
should read, "The center of this portion is then pinned 
down center front, on the shoulder and neck," etc. 

Lesson 6, page 12, 2nd sentence of 2nd paragraph 
change ff to Z. 

Lesson 7, page 5, 2nd line of 1st paragraph change 
10 to 12. 

Lesson 7, page 16, 8th line of 2nd paragraph 
change 28 to 29. 

Lesson 9, page 11, 4th sentence in 2nd paragraph 
should read, "It is fitted by means of a dart on either 
side, these darts being taken in at the bottom of waist- 
line, according to the form, and tapering off to nothing 
at top of belt." 

Lesson 9, page 13, 1st line of 2nd paragraph 
change "satin" to "sateen." 

Lesson 10, page 24, cross out the 11th and 12th 
lines. 

Lesson 11, page 24, 11th line of 3rd paragraph 
change "broken" to "solid." 

Lesson 12, page 8, 10th line of 2nd paragraph 
change "five" to "four." 

Lesson, 12, page 8, draw a curved line from ff to 
P to be followed in cutting front coat section. 

Lesson 12, page 10, 1st and 2nd sentence in 2nd 
paragraph should read, "First, trace the collar from 
the draft by tracing from LL to ff and on up to ii 
through ee. Cut the center front section along Line 
24 from hh to bottom. Lines 34 and 14 up to V, the 
shoulder line to P, then in a slight curve to Line 10." 

Page Twenty-Seven 



Lesson 13, page 4, 24th line change "work" to 
"mark." 

Lesson 13, page 4, 26th line change "slipstitch" 
to "overcast." 

Lesson 13, page 5, 2nd sentence in 1st paragraph 
should read, "Line the pocket lap with silk, stitch it 
and baste it to the right side of the coat, just above 
the pocket mark, face down, with one edge 14, of an 
inch below the pocket mark," etc. 

Lesson 13, page 5, 4th sentence in 1st paragraph 
should read, "Baste the lower pocket portion to the 
coat, just below the pocket mark, with its right side 
to the right side of the coat and its upper edge 1^4 of an 
inch above the pocket mark," etc. 

Lesson 14, page 3, 4th line should be "or when 
locating Y. Simply use one-half of original" 

Lesson 16, page 9, 2nd line 3rd paragraph change 
"parts" to "quarts." 

Lesson 16, page 11, 1st line 3rd paragraph change 
"wrong" to "right." 

Lesson 16, page 21, distance from B to N is 1% 
inches. 

Lesson 16, page 23, at the end of the 7th line in 
the 4th paragraph add the word "larger." 

Lesson 17, page 32, in 11th line of 2nd paragraph 
change "top" to "bottom." 

Lesson 17, page 32, in 12th line of 2nd paragraph 
change "down" to "up." 

Lesson 18, page 4, 3rd sentence should read, 
"Placing corner of square on P measure the distance 
from P to 0, or the front shoulder line." 
Page Twenty-Eight 



Lesson 18, page 15, 5th line of 1st paragraph 
change "K" to "C." 

Lesson 19, page 16, 3rd line, 'Trim the side of 
the underarm seam," etc. 

Lesson 19, page 18, last sentence in 2nd paragraph 
change 16 to 36. 

Lesson 19, page 23, in 1st sentence of 2nd para- 
graph between the words "finest" and "lingerie" 
should be inserted the following: "lace or embroidery 
one can afford. It can be made in any of the fine" 

Lesson 20, page 13, after word "corner" 8th line 
of the 4th paragraph add the words, "bringing out at 
the lower left-hand corner." 

Lesson 20, page 28, 1st line 3rd paragraph change 
D. C. M. to D. M. C. 



Page Twenty-Nine 



GLOSSARY OF TECHNICAL TERMS. 

Accordion Plaiti'inj — Single plaits to stand back 
and forward (as the bellows of an accordion). Is done 
by a machine only. 

Albatross — ^A soft, fine wool material. 

Albert Cloth — Named for England's prince, is a 
reversible all wool material, each side of different col- 
ors, and so finished that no lining is required. 

Allover — Embroideries or lace materials in which 
the design or pattern extends over the entire surface of 
the fabric in contra-distinction to edges and insertions. 

Antique — Generally used to designate styles of 
former centuries. 

Applique — To apply one material to another, as 
lace ornaments are sewed on silk, etc.; also used to 
designate a certain embroidery and lace. 

Apron — A draped or flat skirt front. 

Armure — A fancy weave, having a bird's eye, 
diamonds and seeded effects. 

Astrakhan — A woolen or silk material with a long 
and closely curled pile in imitation of the fur of the 
Astrakhan goat. 

Baby, or Persian Lamb — Fur skin of the still- 
born lamb. 

Basket Weave — Style of weave in which the 
plaited work of a basket is reproduced by the pattern. 

Basque — A tight-fitting waist extending below 
the waistline in different shapes. 

Batiste — The French word for lawn, fine white 
cotton or linen fabrics, sometimes printed. 

Batting or Padding — Cotton or wool prepared in 
sheets for quilting or interlining. 
Page Thirty 



Beaver — A thick woolen cloth weave similar to 
doeskin. The wrong side is finished with a soft, thick 
nap. 

Bedford Cord — A closely woven woolen or cotton 
cloth having a raised corded surface similar to pique; 
used for women's wear. 

Bengaline — A material with a heavy 'filled cord, 
covered with silk or wool. 

Bertha — Any kind of a trimming, such as a ruffle 
or shaped revere following the outline of a low-necked 
or yoke waist. 

Bia^ — The diagonal edge of material. 

Bishop Form — A shape, like sleeves, either plain 
or gathered at the top, the fullness of the lower part 
being attached to a band over which the fullness drops 
to form a puff. 

Blind-Stitch — An invisible stitch. 

Blouse — A loose, round waist ; that is, a full waist 
to drop over the belt. 

Bobbinet — Machine-made cotton or silk netting in 
which a hexagonal figure is produced by twisting the 
thread. 

Bodice — A close-fitting waist. 

Bolei'o — {bo-leer-o) — A small, round, sleeveless 
jacket not extending below the waistline. 

Border — A trimming put on at or near the edge. 

Boucle — Tiny locks of hair scattered over the sur- 
face of a woolen material. 

Bouillounee — A puffing. 

Bourette — Rough threads or knots in straight or 
uneven stripes. 

Bretelle — A revere band, etc., extending from the 
shoulder to the waistline, front and back ; often known 
as suspender trimming. 

Page Thirty-One 



Brilliantine — A coarsely woven mohair with a 
glossy surface. 

Brocade, or Broche — An embroidered effect ob- 
tained by weaving. 

Broadcloth — A fine woolen cloth with a glossy 
surface. It takes its name from its width. 

Brussels Net — Plain net made originally in Brus- 
sels, but now made in all lace countries. 

Buckram — A coarse, plain woven, linen or cotton 
material used for stiffening. 

Buckskin — A soft doeskin with a more defined 
twill. 

Butchers' Linen — A plain weave fabric of linen 
used for dress purposes, similar to crash in appear- 
ance but lighter in weight and composed of smoother 
yarns. 

Cambric — Fine white linen, also made in cotton 
imitation. 

Camel's Hair — A soft, silky fabric, usually woven 
like cheviot, of hair of the camel or goat. 

Canvas — A closely woven linen or cotton mater- 
ial used for stiffening in coats, etc. 

Canton Flannel — A stout, twilled cotton cloth with 
a nap on one or both sides, used for cloth or decora- 
tive purposes. 

Cashmere — A soft woolen material with a fine 
diagonal rib on the right side. 

Challis — A fine twilled woolen fabric. 

Chambray — Is woven like zephyr, except that it 
is stronger and thicker. 

Champagne — Delicate golden ecru. 
Page Thirty-Two 



Chantilly — Pillow lace, made in both silk and cot- 
ton. 

Cheesecloth — Thin muslin, bleached or brown free 
from sizing". 

Chenille (she-neel) — A soft, tufted, hairy-like 
cord, of silk or worsted. 

Cheviot (sha-vi-ot) — A woolen material with a 
diagonal cord. 

Chic — Pronounced "shek." Smart, good style. 

Chiffon — A very soft, flimsy, thin, silk material. 

Chiffon Taffeta — An exceedingly thin, light-weigl't 
taffeta. 

Chiffon Velour — The lightest and softest velvet 
known. 

Cluny — Coarse thread bobbin lace, made in both 
linen and cotton. Close stitch pattern darned on open 
ground. 

Collarette — A collar covering the shoulders, which 
may be cut in various shapes. 

Corded Silk — Is similar to gros grain, except 
that the cord is rounder and varies in thickness from 
a very fine to a very coarse thread. 

Corduroy — A heavy ribbed velveteen. 

Cravenette — Is a name applied to the finish which 
can be put on any all-wool fabric. It is a process of 
dyeing or finishing which renders the cloth proof 
against moisture. It is made water-proof without 
closing the pores of the cloth, thijs rendering it cooler 
and more comfortable for the wearer than a gossamer. 

Cravette — A bow, or the like, worn at the neck. 

Crepe — A puckered or crinkled fabric. 

Crepe de Chine — A crinkled, thin silk dress fabric. 

Crepon — Is a fabric woven in cotton, in imitation 
of the wool and silk crepons. 

Page Thirty-Three 



Cnished or Draped Belt — A bias piece of material 
laid in folds. 

Damask — A fabric with flat figures formed by 
contrast between warp and filling surfaces. 

Decolette (day-coi-tay) — Low-necked. 

Denim — A heavy cotton material with a smooth 
finish. Used principally for men's overclothes. 

Dimity — Is a thin material corded with a fine 
cord, either lengthwise or in checks. It comes in white 
and colors, and is commonly used for summer dresses. 

Doeskin — A compact, twilled woolen, soft and 
pliable. 

Drilling — A coarse linen or cotton cloth used for 
trousers. 

Drop Skirt — An underskirt. 

Duchesse — A satin fabric of which the back is 
woven in flat twills, making a smooth face, not show- 
ing the twilled effect. 

Ecru — Raw, unbleached silk in its natural color. 
Also applied to color, a light shade of dressed pine. 

Empire — 'Styles of women's dress fashionable dur- 
ing the reign of Napoleon I, based on the mode of 
dress customary in ancient Greece. 

Empiecement — A piece set in where the outer ma- 
terial is cut away. 

Eolienne — A sheer silk and wool fabric. 

Epaulette (ep-paw-let) —A shoulder trimming to 
extend over top of sleeve. 

Esprit (Point d' spree) — ^Dotted Bobbinet with 
the dots either singly or in clusters. 

Etamine (et-ta-meen) — A light woolen cloth sim- 
ilar to batiste and nun's cloth. 

Eton — A short, square-formed jacket. 
Page Thirty-Four 



Eyelet — A hole or loop worked in a garment to 
receive a hook, cord, etc. 

Faconne {fa-son-nay) — Fancy. 

Farmer Satin — A lining of cotton, chain or warp, 
and wool filling finishing with high lustre. 

Festooned — Draped in curves. 

Fichu (fe-shoo) — A draped piece crossing the 
shoulder, with long ends in front. 

Filet (fi-lay) — A square, crossed, knotted mesh 
net. 

Flannel — A soft, light weight woolen fabric, plain 
weave or twilled, of which the yarn is but slightly 
twisted. 

Flannelet — A cotton imitation of flannel. 
. Fold — Is made by doubling one part of the ma- 
terial over the other. 

Foulard {fu-lard) — A soft silk with a fine twill 
or cord. 

French Back — The usual three-seamed back with 
curved seams terminating at the armhole and shoulder. 

French Gathers — Gathers made with one long 
stitch on the outside and a short one underneath, or 
the opposite. 

Fringe — Strands of beads, silk, chenille, etc., 
fastened to a narrow band. 

Frogs — Are military braid ornaments, generally 
used on the front of a coat, jacket, cape, etc. 

Galatea — Is a strong, heavy cotton material, used 
for boys' summer coats, and dress skirts. 

Gauntlet Cuff — One shaped like the gauntlet on 
a riding glove. 

Gigo (jig-o) — A large puff sleeve at top termin- 
ating close at wrist, as the leg o' mutton sleeve. 

Page Thirty-Five 



Gingham — Is a smooth fabric, usually woven in 
cnecks or stripes. The yarn is dyed before weaving, 
so that the cloth is nearly alike on both sides ; the warp 
and woof are of the same size. 

Girdle — A shaped belt for the waist. 

Glace — Highly glazed material, usually in silk or 
woolen goods, produced in weaving. Glace gloves are 
those finished with a polished or dressed surface. 

Grafting — Joining two edges with darning 
stitches in such a manner as to render the joining in- 
visible. 

Granite — A slightly raised armure effect in silk 
and wool materials. 

Grenadine — Is a silk net or gauze, sometimes 
woven plain, but more often striped or with a pattern 
woven in it. 

Grosgrain (gro-grain) — A close woven, finely rib- 
bed or corded silk with but little lustre. 

Guimpe — A loose waist with yoke and sleeves, to 
be worn with low-necked, sleeveless dress waists. 

Guipure — Little fancy trimming of wire cord 
wound with silk or cotton threads and the pattern 
stitched together. 

Habit-Back Skirt — A skirt without the regular 
inverted plait or any extra fullness at the back. 

Habutai — A plain woven silk made in Japan on 
hand looms. Smooth and even in texture. 

Haircloth — A cloth woven of horsehair one way 
(from which it takes its name), and cotton or linen 
thread the other. 

Hem — A fold, made by twice turning over the edge 
of the materia], and then sewing it down. 

Homespun — A cloth woven on hand looms or made 
in imitation of such cloth. 
Page Thirty-Six 



Honiton — English bobbin lace noted for beauty 
of design. 

Honiton Braid — Narrow machine-made braid of 
ornamental, oval figures, connected by narrow bars. 

Honiton Guipure — Large flower patterns lace on 
very open ground, the sprays held together with bars. 

Illusion — A thin and very transparent tulle. 

Insertion — Any narrow lace with a plain edge on 
either side that admits of its being inserted in a fabric. 

/m/i Crochet — Heavy hand-made lace, remarkable 
for the beauty and distinctness of its patterns and the 
whiteness of the linen thread used in its manufacture. 

Jahot — Any plain or fancy bow, made either of 
lace or linen, or both, and worn at the neck under tho 
chin. 

Jemi — A heavy cotton cloth much like denim. 

Jersey Cloth — Woolen stockinette. 

Kaikai — A thin Japanese silk. 

Khaki (kahke) — A light, brown colored cot^'^n 
cloth used in army service in hot countries. 

Ladies' Cloth — A fine, wide, woolen flannel, 
slightly napped, similar to broadcloth. 

Lansdowne — A very fine silk and wool material. 

Lapels — Turned back piece to form trimming, as 
the lapels or reveres of a coat. 

Lawn — Is a cotton imitation of linen lawn, which 
it resembles except in the finish, which is more soft. 

Liberty Crepe — A very soft crapelike material. 

Liberty Satin — A very soft, bright satin. 

Liberty Silk — A very soft, clinging silk. 

Lingerie {lang-zhe-re) — Garments made of sheer 
materials usually washable. 

Maline — A very soft silk net of gauze-like tex- 
ture. 

Page Thirty-Seven 



Marabou — Soft down-like feathers. 

Medallion — ^An ornament of lace which is ap- 
plied to a garment. 

Melton — Stout, smooth woolen cloth used for 
men's clothing and ladies' coats. 

Mercerized — A chemical process of rendering 
cotton threads lustrous. The thread is shortened and 
hardened, producing a silky effect. 

Messalme — A light-weight silk having a lustrous 
surface and soft sheer weave. 

Mirror or Miroir — A very glossy mirror effect, ob- 
tained by ironing over the top surface of velvet, 
or satin. 

Mohair — A finely woven wiry wool material, with 
a watered effect surface. 

Moire — A watered effect produced on silks. 

Motif — -The unit of a design which is repeated 
over and over again in a lace pattern. 

Mouseline deSoie {moo-sa-leen de swa) — An ex- 
tremely fine, soft muslin made of silk. 

Muslin — Is a fine, thin cotton fabric, always 
woven plain, and generally made only in white. Book 
muslin, mull, Swiss muslin, Victoria Lawn, and Mad- 
ras are all muslins, with slight variations in the thick- 
ness of finish. 

Nap — Is the shaggy substance on the surface of 
the cloth. 

Notte — Basket weave. 

Organdie — A thin, light, transparent silk or cot- 
ton muslin. 

Oriental Lace — An embroidery produced on a 
schiffle machine, pattern being cut out. 

Ottoman — 'Is a thick, corded silk, used more for 
Page Thirty-Eight 



wraps than for dresses. It is corded with one thick, 
l)rijj:ht cord each side of two or three fine cords. 

Overcoatiny — Fabrics woven especially for over- 
coats, as covert, kersey, melton, beaver, frieze, whip 
cord, etc. 

Oxford — Originally a wool fabric in dark gray 
white mixtures. Of late, heavy cotton and linen fab- 
rics have been known by this name. 

Panel — A lengthwise piece of material between 
two rows of trimming or plaits, generally used on 
skirts and princess dresses. 

Pa7me — A pile fabric of the satin antique variety. 
Long-haired but not so lustrous. 

Pagoda Sleeve — A sleeve gathered full in the arm- 
hole, and falling away loosely straight across the lower 
edge, with front seam left open, very much like the 
Grecian sleeve. 

Passe — Old, out of date. 

Passementerie — Heavy embroideries or edgings 
and galloons, especially those made of rich gimps, 
braids, beads, silk and tinsel. 

Pastel Shades — Very light tints somewhat opaque 
in character. 

Peau de Cygne (po-de-seen) — One of the popular 
weaves of soft, highly finished silk, closely resembling 
Peau de Sole. 

Peau de Soie (po-de-siva) — An entirely silk satin, 
very much alike on both sides. 

Percale — A kind of cambric closely and firmly 
woven, with more dressing than ordinary muslin, 
printed or plain. 

Persian — A thin silk fabric formerly used for lin- 
ings. 

Page Thirty- Nine 



Pique (pe-ka) — Is a firm cotton fabric, originally 
made with a cord running from selvage. Many fancy 
weaves of the same material are now made. Cotton 
Bedford Cord, Marseilles, Ottoman and Repp closely 
resemble Pique and are often mistaken for it. 

Polonaise (pol-on-nays) — Waist and overskirt cut 
in one. 

Pongee — Thin, soft silk fabric woven from the 
natural uncolored raw silk. 

Poplin — A textile fabric made of silk and worsted, 
and of many varieties. 

Postillion — Back of waist with extension below 
waistline. 

Princess Wrapper — ^Waist and skirt parts cut in 
one. 

Print — Is a standard cotton fabric with the pat- 
tern stamped or printed on the right side only. 

Quilling- — A narrow border ^or trimming of lace, 
and the like, folded or plaited so as to somewhat re- 
semble a row of quills. 

Raw Edge — Is the edge that is cut or torn. 

Redingote — An outside garment in polonaise style. 

Rep — Style of weaving in which the surface has 
a crosswise ribbed appearance as a distinction from 
"cords" which extend lengthwise in the fabric. 

Revere — Same as lapel. 

Ruche — A strip of material finely plaited, sewed 
or gathered through the center. 

Sateen — A cotton, satin-finished material in imi- 
tation of satin. 

Selvage — ^A finished edge of the material that 
cannot unravel. 
Page Forty 



Satin — A silk fabric having a high lustre on its 
face. 

Serge — A wool material with a diagonal twill or 
cord. 

Shaped Belt — A wide belt cut to fit the figure and 
kept in shape with featherbone or whalebone. 

Shantung — A heavy grade of pongee silk in which 
the natural color of the material is preserved. 

Spanish Flounce — A deep gathered flounce joined 
to the edge of a short skirt. 

Silesia — A light, closely woven, fine twilled, cotton 
material. 

Silkaline — Thin mercerized cotton cloth in imita- 
tion of silk. 

Stock Collar — A full or draped piece of material 
drawn over a plain foundation collar. 

Stole — Pieces of material worn down each side of 
the front, the same as a Catholic priest wears over 
his gown. 

Suede — Leather finished on the wrong and flesh 
side, or having the thin glossy outer grain shaved or 
peeled off, leaving an undressed surface. 

Surah Silk — Is a soft, bright, thin silk, twilled on 
both sides. 

Sun-plaiting — Graduated accordion plaiting. 

Tailored — Clear-cut in outline without any frills 
or furbelows. 

Taffeta — A smooth, thin silk, with considerable 
body to it and alike on both sides. 

Tabs — Loose hanging pieces, 

TissKC — Is a very thin fabric woven like gingham. 
In the checks each color is usually separated from the 
joining one by a fine cord. 

Page Forty-One 



Torchon Lace — A coarse open bobbin lace of stout 
but loosely twisted thread in very simple patterns. 
Tunic — An overskirt. 

Valenciennes Lace — Commonly called Val. Is a 
sort of bobbin lace in the form of narrow edgings. 

Velom- — French for velvet. A pile fabric similar 
to plush, produced in many forms in plain and fancy. 

Velveteen — A cotton velvet. 

Venetian — An all-wool material of a broadcloth 
construction, except that the face is twilled. 

Vest — An extra piece of trimming set in the front 
of a waist or coat. 

Voile — ^Nun's veiling, or a fine wool material. 

Volant — A plain gathered strip of material com- 
monly known as a ruffle. 

V-Shaped — ^Cut in the form of the letter V. 

Warp — The lengthwise threads of a material. 

Wash-Silks — Are those which can be washed, 
without injury. The China and India silks are smooth, 
plain wash silks with a soft finish. 

Worsted — Well twisted yarn, spun of long staple 
wool which has been combed to lay the fibres parallel. 

Woof — The crosswise threads of a material. 

Yoke — A square or round piece of material across 
the chest and shoulders. 

Zephyr — Is a weave of gingham, and can be dis- 
tinguished from it by its finer, more silky appearance, 
and by the warp being coarser than the woof, thus 
causing the check to be uneven. 

Zibeline — A wool material with long hairs. 



Page Forty-Two 



INDEX 

A 



I^esson Pag'e 

Accessories, dress 27 3. .38 

Accessories, dress 28 3. .33 

Accessories, dress, jabots 27 5.. 8 

Accessories, dress, neckwear, (Fig. 525).... 27 4.19 

Accessories, dress, neckbands 27 8. .11 

Accessories, dress, neck bows 27 11. .13 

Accessories, dress, stocks 27 14. .19 

Accessories, dress, turned down collar, (H, Fig. 525) 27 13 

Accessories for tlie bride, (Fig. 545) 28 23. .28 

Acesories for a graduate, (Fig. 546) 28 28..33 

Accordion-plaited flounce 9 6 

Acetic acid, for removal of 30 10 

Acid, for removal of 30 10 

Adding flare to seven-gore skirt 7 15-17 

Adding flare to skirts, general instructions 7 23. .25 

Adjusting band to seven-gore skirt 8 10 

Adjusting belt to high waistline skirt 9 12 

Adjusting boning attachment to machine (Fig. 67) . 4 16 

Adjusting collar to evening or auto cape 13 29 

Adjusting collar to fur-cloth coat 13 24 

Adjusting front fullness of waist into a band, 

(Fig. 76) 4 27 

Adjusting fullness in top of shirtwaist sleeve (Fig. 86) 4 30.31 

Adjusting gathers in back of shirtwaist, (Fig. 75).. 4 26 

Adjusting gathers in front of shirtwaist 4 27 

Adjusting neckband to shirtwaist, (Fig. 79) 4 28 

Adjusting shoulder seams in an unlined coat 12 27.28 

Advertise your services, to 29 30. .31 

Afternoon and evening dresses for the bride 19 19 

Afternoon dresses for a trip South 19 5.6 

Afternoon dresses for a trip abroad 19 9 

Albuminoid matter, for removal of 30 9 

Alixarine inks, for removal of 30 9 

Allowance for box-plait on front of Gibson waist, 

(Fig. 103) 5 15 

Allowance for plaits in Gibson waist, (Fig. 102) .... 5 11. .14 

Allowance for seams on seven-gore skirt 7 19. .20 

Allowance for side-plaited skirts 9 18 

Allowance for tucked shirring 9 28. .30 

Altering a pattern for a high bust figure 6 21 

Altering a pattern for a low bust figure 6 20. .21 

Altering a pattern for a prominent bust figure. 

(Fig. 131) 6 21 

Altering a pattern for a small bust figure, (Pig. 132) 6 21 



Lesson Page 

Altering a pattern for a long-waisted figure, (Fig. 128) 6 17. .19 
Altering a pattern for a short-waisted figure, 

(Pig. 127) 6 16.19 

Altering a pattern for an over-erect figure, (Fig. 130) C 20 
Altering a pattern for a round-shouldered figure, 

(Fig. 129) 6 19.20 

Altering a pattern for a sloping-shouldered figure, 

(Fig. 134") 6 21.22 

Altering a pattern for a square-shouldered figure, 

(Fig. 133) 6 21.22 

Altering a sleeve that draws across the top, 

(Figs. 135-136) 6 22..23 

Amount of material required for a suit 29 27 

Applique trimming 23 30 

Applying band at knee depth of skirt, (Fig. 180).... 11 11 

Applying band (deep) to bottom of skirt, (Fig. 179) 11 10..11 

Applying band (narrow) to bottom of skirt, (Fig. 180) 11 11 

Applying bands and folds on skirts 11 3. .4 

Applying box-plaits to a boys' Norfolk jacket 17 12. .13 

Applying braid to bottom of a skirt 8 12 

Applying brush braid to bottom of a walking skirt. . 9 8. .9 
Applying braid (wide) in straight and angular lines, 

(Fig. 425) 22 4..5 

Applying braid in curves and loops, (Fig. 426) 22 7.8 

Applying braid to waist front, collar and cuffs, 

(Fig. 428) 22 8.9 

Applying braid on velvet, satin, chiffon, net and wash 

materials 22 10. .11 

Applying braiding designs to different fabrics 22 14. .15 

Applying canvas to lined coat collar 12 21. .22 

Applying canvas to bottom of skirt '9 7 

Applying canvas to an evening coat, (Figs. 236-237) 13 9. .10 

Applying canvas to Russian blouse coat, (Fig. 245).. 13 18 

Applying canvas to a fur-cloth coat, (Fig. 250) 13 24 

Applying collar to lined coat, (Fig. 208) 12 22 

Applying coronation braid 22 9. .10 

Applying cuff to coat sleeve, (Fig. 213) 12 24.25 

Applying facings to a lined coat 12 22. .23 

Applying graduated circular fiounce to skirt 10 3. .5 

Applying graduated circular flounce to drop skirt.... 9 4. .5 

Applying insertion to drawers, (Fig. 327) 17 16 

Applying insertion above hem in drawers, (Fig. 328) 17 16 

Applying insertion to waist illustrated in Fig. 94. . . . 5 8 
Applying interlining and sheet wadding to a lined 

coat, (Figs. 209-210) 12 23 

Applying interlining to front of unlined coat, 

(Fig. 217) 12 27 

Applying interlining to back of unlined coat, (Fig. 218) 12 28 

Applying interlining in shawl collar, (Fig. 219) .... 12 28. .29 

Applying lining and interlining to an evening coat... 13 10. .13 

Applying mohair braid to bottom of walking skirt . . 9 8 

Applying rolled turnover collar to coat, (Fig. 208 12 22 



Lesson Page 
Applying simulated baud of shirriug or smocking, 

(Fig. 181) 11 11..12 

Applying sleeve lining in coat 12 26 

Applying soutache braid by machine or hand 22 11. .12 

Applying soutache braid flat or edgwise, (Fig. 429) . . 22 11..12 

Applying shawl collar to unlined coat, (Fig. 221)... 12 29 

Applying two tones of braid interlaced, (Fig. 425) .... 22 5. .6 

Applying trimming bands to a garment 23 11. .13 

Applying yoke to Mannish shirtwaist, (Fig 98) 5 10 

Apron, draft for a little girl's one-piece, (Fig. 286) . . 15 17 

Apron, little girl's, making, (Fig. 287) 15 18 

Appropriate belts for different forms 21 9. .10 

Appropriate costumes for masquerade parties 19 14. .17 

Appropriate dresses for graduation 19 22.26 

Appropriate dresses for mourning 19 26. .30 

Appropriate dresses for confirmation 19 26 

Appropriate sashes for different forms, (Fig. 423). .... 21 25 

Appropriate wardrobes for various occasions 19 3-.31 

Appropriate wardrobe for a Western trip 19 4. .5 

Appropriate wardrobe for a Southern trip 19 5.-7 

Appropriate wardrobe for a trip abroad 19 7. .10 

Appropriate wardrobe for a trip to the seaside 19 10. .14 

Appropriate wardrobe for the bride 19 17..21 

Armhole measure, (Figs. 56-57) 2 9. .12 

Armhole of coat, binding, (Fig. 223) 12 31 

Arrange for lengthening summer dresses, to 29 21 

Arrangement for lengthening maternity skirt, 

(Fig. 267) 14 22..23 

Arranging for hooks and eyes 4 8. .9 

Arranging shirt draft to cut a night shirt 16 23. .24 

Arranging shirt sleeve to cut a night shirt sleeve.. 16 24-25 

Arranging shirt draft to cut a bathrobe 16 26-27 

Arrow-head stitch, (Fig. 401) 20 24..25 

Art of packing a trunk 29 31. .33 

Articles necessary for the home dressmaker 29 4. .9 

Attaching belt to Russian blouse coat, (Fig. 247) 13 20. .21 

Attaching circular cuff to sleeve 6 16 

Attaching collar to evening coat, (Fig. 240) 13 12 

Attaching cuff to shirtwaist sleeve, (Figs. 83-84) 4 29. .30 

Attaching cuff to Bishop sleeve, (Fig. 89) 4 31 

Attaching cuff to evening coat sleeve 13 11 

Attaching large buttons to tub dress 29 19 

Attractive narrow girdles, (Fig. 413) 21 12. .14 

Attractive tailored belts, (Figs. 409-410-411) 21 8. .9 

Auto cap, (Fig. 355) 18 12..16 

Auto cap, drafting outside part, (Fig. 357) 18 12. .14 

Auto cap, drafting lining part, (Fig. 357) 18 14. 15 

Auto cap, making 18 15. .16 

Auto cap, materials suitable for 18 12 

Auto cape, (Fig. 253) 13 29..30 

Auto cape, collar of 13 28 

Auto cape, draft of, (Fig. 254) 13 25-27 



Lesson Page 

Auto cape, finishing edges of 13 29 .30 

Auto cape, four-piece 13 27 ..28 

Auto cape, lining for 13 30 

Auto cape, making 13 29 

Auto cape, making slaslies for arms 13 30 

Auto cape, materials suitable for. .13 28 

Auto cape, one-piece :.. 13 27 

Auto cape, two-piece 13 27 

Auto cape, use of cambric 13 29 

Auto coat, materials suitable for. 18 11 

B 

Back measure, depth of (Fig. 57) 2 9 

Back measure, length of (Fig. 57) 2 9 

Back measure, width of (Fig. 57) 2 9 

Back skirt measure, (Fig. 57) 7 4 

Back embroidery stitch, (Fig. 400) 20 23. .24 

Back-stitch, (Fig. 3) 1 6 

Back view of lined coat, (Fig. 216) 12 26 

Band for drawers, drafting a (Fig. 329) 17 17 

Band for infants, (Fig. 275) 15 9 

Bands applied at knee depth of skirt, (Fig. 180) 11 11 

Bands, deep, applied to bottom of a skirt, (Fig.179) . . 11 10. 11 

Bands or folds used in trimming skirts 11 3. .4 

Bands, narrow, applied to bottom of a skirt, (Fig. 180) 11 11 

Bands, trimming 23 10..29 

Bands, trimming, of all-over embroidered net worked 

with chain-stitch in rope silk, (Fig. 454) 23 29 

Bands, trimming, applying to a garment 23 12. .13 

Bands, trimming, of beading and embroidery on net, 

(Fig. 452) 23 27..28 

Bands, trimming, of block design, (Fig. 445) 23 18. .19 

Bands, trimming, of broadcloth 23 11 

Bands, trimming, in connected squares, (Fig. 443).. 23 14.15 

Bands, trimming, cut to shape, (Fig. 446) 23 20. .21 

Bands, trimming, cord shirring, making, (Fig. 449) . . 23 25. .26 

Bands, trimming, cord shirring finished, (Fig. 450) . . 23 26 

Bands, trimming, of different widths, (Fig. 442) 23 11. .12 

Bands, trimming, double bias of striped material, 

(Fig. 442) 23 13 

Bands, trimming, of embroidery on net in satin-stitch 

and darning, (Fig. 450) 23 26 

Bands, trimming, graduated 23 19 

Bands, trimming, of Grecian design, (Fig. 445) 23 17. .18 

Bands, trimming, of heavy material 23 11 

Bands, trimming, interwoven, (Fig. 444) 23 16. .17 

Hands, trimming, of lace and braiding designs 23 17.19 

Mands, trimming, of lace insertion, (Fig. 44(5) 23 20.22 

liands, trimming, of lace insertion and tucks, 

(Fig. 447) 23 21..23 



Lesson Page 

Bauds, trimming, of military and soutache braid, 

(Fig. 442) 23 15-.16 

Bands, trimming, piped, (Fig. 449) 23 25 

Bands, trimming, plain, used on either side of a bias 

band of striped material, (Fig. 443) 23 13..14 

Bands, trimming, quilling 23 24 

Bands, trimming, of rope silk and tinsel braid on net, 

(Fig. 453) 23 27..28 

Bands, trimming, of rope silk and soutache braid on 

ribbon, (Fig. 453) 23 27..29 

Bands, trimming, of shadow embroidery and darning 

combined with beading, (Fig. 452) 23 26..28 

Bands, trimming, shirring, (Fig. 448) 23 23.24 

Bands, trimming, of silk 23 10 

Bands, trimming, straight, bias, wide and narrow.... 23 10.17 
Bands, trimming, of soutache braid combined with 

French knots, (Fig. 450) 23 26 

Bands, trimming, of two separate lengths, (Fig. 445) 23 18. .19 
Bands, trimming, of velvet or filmy materials, 

(Fig. 446) 23 20 

Bands, trimming, of wide or narrow folds, (Fig. 446) 23 20. .21 

Bandeau, double, for the graduate, (A, Fig. 546) 28 30..31 

Bandeau for the bride, (F, Fig. 545) 28 27-28 

Barred buttonhole, (Fig. 15) 1 13. .14 

Barrie-coat for infants, (Fig. 277) 15 9..10 

Basting and stitching single box-plaited skirts 10 15 

Basting and stitching sleeves of lined coat, (Fig. 211) 12 24 

Basting belt to a high waistline skirt 9 12 

Basting canvas to material for a lined coat... 12 20. .21 

Basting for smocking, (Fig. 24) 1 17 

Basting gores of a seven-gore skirt, (Fig. 139) 7 21 

Basting haircloth to canvas for a lined coat 12 19. .20 

Basting lining of waist 4 3. .4 

Basting material on lining 6 4 

Basting neckband to shirtwaist, (Fig. 79) 4 28 

Basting plaits in a side-plaited skirt 9 19 

Basting pocket-lap to coat, (Fig. 229) 13 5 

Basting sailor collars, (Fig. 125) 6 13. .14 

Basting seams of an evening coat, (Fig. 238) 13 10 

Basting shirtwaist neckband, (Fig. 78) 4 28 

Basting sleeve lining of waist, (Fig. 65) 4 4 

Basting tape to front edges of lined coat 12 22 

Basting tucks in circular waist yoke, (Fig. 120) 6 8 

Basting upper and lower portions of Russian blouse 

to belt, (Fig. 247) 13 20..21 

Basting velvets, plush, etc 4 12. .13 

Basting woolen materials . .' . . ' 4 12 

Bathing suits 19 10.13 

Bathing suit bag 19 13-14 

Bathing suit head-dress or scarf 19 13 

Bathing suit in princess style, (Fig. 360) 19 11. .12 



Lesson Page 
Bathing suit in Russian blouse style with body and 

sleeve in one, (Fig. 362) 19 13 

Bathing suit in sailor blouse style, (Fig. 361) 19 12 

Bathrobe, (Fig. 323) 16 26 

Bathrobe, blanket 16 27..28 

Bathrobe, collar 16 28..29 

Bathrobe, draft of, (Fig. 324) 16 26. .27 

Bathrobe, making 16 28. .29 

Bathrobe, pocket 16 29 

Bathrobe, with box-plait in center front and back. ... 16 28 

Beads, sewing on 23 9-10 

Beads, shape, color and size of 23 5. .6 

Beads, stitch used to simulate 23 10 

Beaded buckles, (Figs. 542-543) 28 16..20 

Beading, beads suitable for certain materials 23 6. .7 

Beading, different methods used, (Fig. 441) 23 8. .9 

Beading, how to prepare a garment for 23 7. .8 

Beading, illustration of waist front, (Fig. 440) 23 6..7 

Beading, materials employed 23 4..5 

Belt of a high waistline skirt, adjusting 9 12 

Belt of a high waistline skirt, making, (Fig. 154) .... 9 11. .12 

Belt of Russian blouse coat, drafting of, (Fig. 243) . . 13 17 

Belt of Russian blouse coat, making, (Fig. 246) 13 19 

Belt for walking skirt, making 9 9 

Belt for wrapper, making 14 14. .15 

Belts and girdles 21 3.24 

Belts and sashes for children 21 28. .29 

Belts appropriate for different forms 21 9-10 

Belts, attractive finish for. (Figs, 416-417) 21 17. .18 

Belts, attractive tailored, (Figs. 409-410-411) 21 8. .9 

Belts, beaded, (C, Fig. 544) 28 20.22 

Belts, bias tailored 21 6. .7 

Belts, braided, (E, & D, Fig. 544) 28 20.22 

Belts, covering canvas foundation 21 4-6 

Belts, embroidered, (A, & B, Fig. 544) 28 20..22 

Belts, fitting canvas foundation 21 10. .11 

Belts, lining tailored 21 4.7 

Belts, making canvas foundation 21 4. .5 

Belts, narrow, crushed, made either over a boned 
foundation, or featherbone applied to a fitted 

one, (Fig. 412) 21 11 

Belts of more than one section, (D, E, & F, Fig. 408) 21 7..8 

Belts, piped, braided or embroidered 21 7 

Belts, plaited 21 15 

Belts, ribbon, (Fig. 412) 21 10. .11 

Belts, shirred 21 14 

Belts, stitching tailored 21 6 

Belts, straight, narrow, tailored, (Fig. 408) 21 3 .6 

Belts, wide, crushed, fancy ribbon, (Fig. 412) 21 11. .12 

Bermuda fagotting, (Fig. 516) 26 14. .17 

Bermuda fagotting, butterfly design of, (Fig. 518) 26 16. .17 

Bermuda fagotting, detail of, (Fig. 517) 26 15..16 



Lesson Page 

Between-color type, colors for 24 28. .29 

Bias bands and folds 1 26..27 

Bias strips, joining, (Fig. 46) 1 26 

Bias strii>s, marking for, (Fig. 45) 1 26 

Bibs for infants 15 13 

Binding armhole of unlined coat, (Fig. 223) 12 31 

Bird's-eye or lazy daisy stitch, (Fig. 387) 20 14..15 

Bishop dress for a little girl 15 15 

Bishop sleeve, cuff for, (Fig. 89) 4 31 

Bishop sleeve, draft of, (Fig. 62) 3 14..15 

Bishop sleeve, opening of, (Fig. 88) 4 31 

Black ink, for removal of 30 10 

Blondes 24 24.26 

Blondes, ash 24 25..26 

Blondes, colorless 24 25. .26 

Blondes, deep coloring 24 25 

Blondes, genuine or perfect 24 25 

Blondes, red-haired 24 26 

Blondes, sallow 24 26 

Blood, for removal of 30 9 

Blouse for maternity wear, (Figs. 260-261) 14 8. .19 

Blouse, Russian, for boys, (Fig. 305) 17 10..12 

Blouse, Sailor, (Fig. 124) 6 12..15 

Blouse, Sailor, chemisette for 6 14. .15 

Bodice for a high waistline skirt, (Fig. 156) 9 13 

Bone, hook and eye 4 18 

Boning a waist 4 15. .18 

Boning center back seam 4 17 

Boning coats with three cord tape 4 19 

Boning darts, (Fig. 68) 4 16 

Boning outside back seam 4 17 

Boning underarm seam, (Fig. 69) 4 17 

Bones, finishing at top, (Fig. 70) 4 18 

Bones, springing in the , 4 15 

Bootees for infants 15 14 

Bordered materials, skirts of, (Fig. 174) 11 4. .5 

Bordered skirts 11 4. .5 

Bottom of coat, weights in 12 31 

Bound open welt seam, (Fig. 39) 1 24 

Bow, a sewed, (Fig. 531) 27 34..35 

Bow of knotted satin ribbon, (B, Fig. 545) 28 24..26 

Bow, a sewed, detail of making 27 35 

Bows, calcul-ating amount of ribbon necessary 27 35 

Bows, for brides' slippers, (D, Fig. 545) 28 26 

Bows, neck, (C, D, K, & G, Fig. 525) 27 11.12 

Bows, neck, messaline ribbon, (J, Fig. 525) 27 12 

Bows, neck, of plaited velvet or silk, (C, Fig. 525) . . 27 12 

Bows, neck, of silk or velvet, (E, Fig. 525) 27 12 

Bows, neck, of soft liberty satin ribbon, (D, Fig. 525) 27 11 

Bows, neck, of soft ribbon, (K, Fig. 525) 27 11 

Bows, points in making ribbon 27 33. .35 

Box-plait on boys' Norfolk jacket 17 13 



Lesson Page 

Box-plait on center front and center back of bathrobe 16 28 

Hox-plait on front of Gibson waist, (Fig. 103) 5 15 

Box-plaited girdles, (Fig. 415) 21 16..17 

Box-plaited skirts, (Fig. 166) 10 13..18 

Box-plaited skirts, double 10 18..19 

Box- plaited skirts, finishing bottom of 10 17 

Box-plaited skirts, single 10 13..15 

Box-plaited skirts, triple 10 19 

Box-plaits, inverted 10 17..18 

Box-plaits set in at the seams of a skirt, full length 

and at a graduated distance 10 15. .17 

Boys' knee trousers 17 3. .10 

Boys' knee trousers, buttonhole band on, (Fig. 303) . . 17 9 

Boys' knee trousers, drafting back of, (Fig. 301) 17 4. .6 

Boys' knee trousers, drafting front of, (Fig. 300) .... 17 3. .4 

Boys' knee trousers, finishing seams of, (Fig. 304).... 17 10 
Boys' knee trousers, pocket facing drawn through 

opening in side, (Fig. 302-A) 17 8 

Boys' knee trousers, pocket in back of, (Fig. 302) 17 6. .7 

Boys' knee trousers, side pockets, (Fig. 303) 17 9 

Boys' knee trousers, taking measures for 17 3 

Boys' Knickerbockers 17 12 

Boys' Norfolk suit, (Fig. 307) 17 12..13 

Boys' Russian suit, (Fig. 305) 17 10..12 

Boys' Russian suit, making 17 11. .12 

Boys' Russian suit, pocket in, (Fig. 306) 17 10..11 

Braid, applied to bottom of skirt 8 12 

Braid, brush, applied to bottom of walking skirt.... 9 8. .9 

Braid, mohair, applied to bottom of walking skirt. ... 9 8 

Braid-stitch, (Fig. 404) 20 26 

Braided buttons, (Fig. 521) 26 25..28 

Braided buttons, double triangle designs 26 26. .27 

Braided buttons, different designs 26 26 

Braided buttons joined with a loop of knotted braid, 

(Fig. 521) 26 25 

Braided buttons, pentagonal, (Fig. 521) 26 25. .26 

Braided buttons, pentagonal, detail of making, 

(Fig. 621) 26 26 

Braided frogs and pendants 26 32. .36 

Braiding 22 3-16 

Braiding, applied in curves and loops, (Fig. 426) 22 7..8 

Braiding, applying coronation 22 9..10 

Braiding, applying design to different fabrics "... 22 14. .15 

Braiding, applying wide in straight and angular 

lines, (Fig. 425) 22 4..5 

Braiding boleros of filet net over mousseline de sole, 

(Fig. 430) 22 12 

Braiding collar of evening coat 13 12..13 

Braiding, colors to use 22 15 

Braiding, combined with embroidery, beads, etc., 

(Fig. 427) 22 8 



Lesson Tage 

Braiding, combined with Maderia embroidery and 

lace insertion — design for waist, (Fig. 434) 22 16 

Braiding, design for waist combined with French 

embroidery, (Fig. 433) , 22 15 

Braiding, difference in designs for dressy and tail- 
ored models, (Fig. 432) 22 14..15 

Braiding for different purposes and materials 22 3..4 

Braiding, fitting a straight pattern around corners 

and curves, (Fig. 431) 22 12..13 

Braiding, how to select a good pattern, (Fig. 428) 22 8..9 

Braiding, in a simple wave pattern, (Fig. 425) 22 4. .5 

Braiding, of two tones interlaced, (Fig. 425) 22 5. .6 

Braiding on velvet, satin, chiffon, net and wash ma- 
terials 22 10..11 

Braiding, soutache, applied by hand or machine 22 11. .12 

Braiding, soutache, applied flat or edgewise, (Fig. 429) 22 11..12 

Braiding, waist front, collar and cuffs, (Fig. 428).... 22 9 

Brassiere, drafting a, (Fig. 334) 17 22..23 

Brassiere, or bust supporter, (Fig. 333) 17 21. .22 

Brides' accessories 28 23..28 

Brides' accessories, bandeau, (F, Fig. 545) 28 27. .28 

Brides' accessories, bows for slippers, (D, Fig. 545).. 28 25. .26 
Brides' accessories, double rosette of white chiffon, 

(E, Fig. 545) 28 25..26 

Brides' accessories, knotted satin ribbon bow, 

(B, Fig. 545 ) 28 25..26 

Brides' accessories, rosette of lace, (C, Fig. 545).... 28 26 

Brides' accessories, tailored bow 28 26 

Brides' accessories, the veil, (A, Fig. 545) 28 23. .24 

Brides' afternoon and evening dresses 19 19 

Brides' hats 19 20 

Brides' linen 19 21 

Brides' morning dress 19 19-20 

Brides' traveling suit 19 19 

Brides' undermuslins 19 20 

Brides' veil 19 18..19 

Brides' wardrobe 19 17. .21 

Brides' wedding dress . 19 18 

Brier-stitch, (Fig. 369) 20 7 

Broad seam stitched, (Fig. 35) 1 22 

Brunettes 24 27..28 

Brunettes, creamy • . 24 27 

Brunettes, fair 24 27 

Brunettes, genuine or perfect 24 27 

Brunettes, olive-skinned 24 28 

Brunettes, sallow 24 28 

Buckles 28 16. .21 

Buckles, beaded, (Figs. 542-543) 28 16. .19 

Buckles, embroidered, (Fig. 543) 28 19..21 

Buckles, making buckram or cardboard foundation.. 28 17.18 

Buckles, shirred, (Fig. 542) 28 19 



Lesson Page 
Buckram interlining for fur-cloth coat collar, 

(Fig. 251) 13 24 

Bust measure, (Figs. 56-57) 2 8 

Bust supporter, or brassiere, (Fig. 333) 17 21..22 

Button molds 1 17 

Buttons, braided, (Fig. 521) 26 25..28 

Buttons, embroidered, (Fig. 520) 26 19..24 

Buttons, sewing on, (Fig. 22) 1 16 

Buttonhole band in boys' knee trousers, (Fig. 303) . . 17 9 

Buttonholes 1 11..15 

Buttonholes, barred, (Fig. 15) 1 13..14 

Buttonholes, bar-stitching, tailored, (Fig. 17) 1 14..15 

Buttonholes, bound 26 30..31 

Buttonholes, cord 26 30 

Buttonholes, cutting 1 11-12 

Buttonholes, marking 1 11 

Buttonholes, pressing tailored 1 15 

Buttonholes, round end, (Fig. 15) 1 13 

Buttonholes, simulated 26 28-32 

Buttonholes, staying a tailored, (Fig. 18) 1 15 

Buttonholes, tailored, (Fig. 17) 1 14 

Buttonholes, vertical, (Fig. 16) 1 11..14 

Buttonholes, working 1 13. .15 

V. 

Cambric interlining for a fur-cloth coat 13 23 

Cambric used in evening or auto cape 13 29 

Canvas applied in back of evening coat, (Fig. 237).. 13 9 

Canvas applied in front of evening coat, (Fig. 236) .... 13 9 

Canvas applied to collar of a lined coat 12 21. .22 

Canvas basted to haircloth for a lined coat 12 19..20 

Canvas basted to material for a lined coat 12 20-21 

Canvas in Eton coat 18 5 

Canvas for a lined coat, (Figs. 203-204) 12 15. .19 

Canvas foundation of belts, covering 21 5 

Canvas in fur-cloth coat, (Fig. 250) 13 24 

Canvas in Russian blouse coat, (Fig. 245) 13 18 

Cap, auto, (Fig. 355) 18 12..16 

Cap, draft of outside portion of auto, (Fig. 356) 18 12..13 

Cap, draft of lining portion of auto, (Fig. 357) 18 14..15 

Cap, infants' 15 13 

Cap, making auto 18 15..16 

Cap, materials suitable for auto 18 12 

Cape, adjusting collar to evening or auto 13 29 

Cape, collar for evening or auto 13 28 

Cape, draft of evening or auto, (Fig. 254) 13 25..27 

Cape, evening or auto, (Fig. 253) 13 25..30 

Cape, finishing edges of an evening or auto 13 29. .30 

Cape, finishing slashes for arms in an evening or 

auto 13 30 

Cape, four-piece evening or auto 13 27. .28 



Lesson Page 

Cape, infants, (Fig. 283) 15 12..13 

Cape, lining for an evening or auto 13 30 

Cape, making evening or auto 13 28. .30 

Cape, materials suitable for evening or auto 13 28 

Cape, one-piece evening or auto 13 27 

Cape, two-piece evening or auto 13 27 

Cape, use of cambric in an evening or auto 13 29 

Carbon, for removal of 30 10 

Care of velvet 30 14..15 

Cart-wheel grease, for removal of 30 10 

Cat-stitch, (Figs. 7-8) 1 7..8 

Chain-stitch, (Fig. 375 ) 20 9 

Chain-stitch, double, (Fig. 376) 20 9..10 

Chain-stitch, twisted, (Fig. 377 ) 20 10 

Changing skirt drafts for different figures 10 21. .24 

Changing skirt drafts for prominent abdomen, 

(Fig. 171) 10 23..24 

Changing skirt drafts for prominent hips, (Fig. 169) . . 10 22. .23 

Changing skirt drafts for round abdomen, (Fig. 170) 10 23 

Changing skirts drafts when too long, (Fig. 167).... 10 22 

Changing skirts drafts when too short, (Fig. 168) .... 10 22 

Chemise 17 20 

Chemisette for sailor blouse 6 14. .15 

Chest measure, (Fig. 56) 2 9 

Childrens' one-piece drawers, (Figs. 344-345) 17 30;. 31 

Children's' plain drawer draft 17 32 

Circular cuff, (Fig. 126) 6 15..16 

Circular drawer draft, (Fig. 330) 17 17. .18 

Circular graduated flounce for outside skirt 10 3. .7 

Circular peplum, deep 9 16 

Circular peplum without darts, (Fig. 157) 9 14 

Circular skirt yokes, (Fig. 157) 9 13..15 

Circular skirt yokes, deep, (Fig. 158) 9 14. .15 

Circular skirts, (Fig. 162) 9 24..27 

Circular skirts, one piece 9 26 

Circular skirts, two-piece 9 26. .27 

Circular skirts with circular front only 9 27 

Circular tucked yoke, marking for, (Fig. 119) 6 6. .8 

Circular tucked yoke, basting tucks in, (Fig. 120) .... 6 8 

Cleaning and curling feathers 30 18. .19 

Cleaning black cashmere 30 14 

Cleaning black lace 30 6 

Cleaning black silk 30 17..18 

Cleaning laces without washing 30 6. .7 

Cleaning ribbon or silk 30 11 

Cleaning silver and gilt ornaments 30 19 

Coat, adjusting shoulder seam in an unlined 12 27. .28 

Coat, applying canvas to collar of a lined 12 21..22 

Coat, applying collar to a lined, (Fig. 208) 12 22 

Coat, applying cuff to sleeve of a lined, 

(Fig. 213) 12 25 



Lesson Page 
Coat, applying interlining to back of unlined, 

(Pig. 218) 12 28 

Coat, applying interlining to front of unlined, 

(Pig. 217) 12 27 

Coat, applying shawl collar to an unlined, (Fig. 221) 12 29 

Coat, applying sleeve lining in 12 26 

Coat, automobile 18 11 

Coat, basting canvas to material for a lined 12 20-21 

Coat, basting haircloth to canvas for a lined 12 19.. 20 

Coat, basting pocket lap to, (Fig. 229) 13 5 

Coat, basting pocket piece to, (Fig. 231) 13 5..6 

Coat, basting seams of an evening, (Pig. 238) 13 10 

Coat, basting and stitching sleeves of a lined, 

(Fig. 211) 12 24 

Coat, basting tape to front edges of -. . 12 22 

Coat, binding armholes of an unlined, (Fig. 223) .... 12 31 

Coat, cambric for lined, (Fig. 204) 12 19 

Coat, canvas for lined, (Fig. 203) 12 15..19 

Coat, collar and lapels of a lined, to draft 12 8. .9 

Coat, cutting and applying collar facings to an unlined 12 30 
Coat, cutting and applying front facings to a lined.. 12 22. .23 
Coat, cutting and applying front facings to an un- 
lined 12 29..30 

Coat, cutting and applying interlining and sheet wad- 
ding to a lined, (Figs. 209-210) 12 23 

Coat, cutting collar facing for a lined 12 22 

Coat, cutting and making sleeves of unlined, (Fig. 222) 12 30-31 

Coat, cutting sections of a semi-fitting draft apart. ... 12 10. .11 

Coat, cutting sections of a tight-fitting draft apart. . 12 13..14 

Coat, cutting sleeve lining for 12 26 

Coat, drafting an Eton with sailor collar, (Fig. 346) 18 3..5 

Coat, drafting a sack, (Fig. 354) 18 10..11 

Coat, drafting a semi-fitting, (Fig. 198) 12 5..11 

Coat, drafting a tight-fitting, (Fig. 200) 12 11..13 

Coat, drafting turnover collar and lapels, (Pig. 198) . . 12 8..9 

Coat, Eton, canvas for 18 5 

Coat, Eton, construction of sailor collar for 18 5. .7 

Coat, Eton, eight-piece 18 7 

Coat, Eton, haircloth for 18 5 

Coat, Eton, illustrating shawl collar, (Fig. 351) 18 8 

Coat, Eton, kimono style 18 9 

Coat, Eton, seven-piece 18 7 

Coat, Eton, tracing sailor collar 18 5 

Coat, Eton, tracing sections of 18 5 

Coat, Eton, with no center-back seam, (Fig. 352) .... 18 9 

Coat, Eton, with no side-back seam, (Fig. 353) 18 9 

Coat, Eton, with no underarm seam, (Fig. 351) 18 8.. 9 

Coat, Eton, with round collar, (Fig. 350) 18 8 

Coat, Eton, with sailor collar, (Fig. 348) 18 5. .7 

Coat, Eton, with shawl collar, (Pig. 347) 18 7.. 8 

Coat, Eton, without collar, (Fig. 349) 18 7 

Coat, evening, (Pig. 235) 13 8. .13 



Lesson Page 

Coat, evening, braiding collar of 13 12.13 

Coat, evening, canvas applied in back, (Fig. 237) 13 9 

Coat, evening, canvas applied in front of, (Fig. 236) . . 13 9 

Coat, evening, collar of, (Fig. 240 ) 13 12 

Coat, evening, cuffs in sleeves of ~. 13 11 

Coat, evening, interlining of 13 11 

Coat, evening, lining of 13 13 

Coat, evening, materials suitable for 13 8 

Coat, evening, taping edges 13 9 

Coat, fastenings 12 31 

Coat, finishing bottom of, (Fig. 239) 13 10 

Coat, finishing bottom of unlined 12 30 

Coat, fur and fur-cloth 13 21..25 

Coat, fur-cloth, adjusting collar to a 13 24 

Coat, fur-cloth, buckram interlining for collar of, 

(Fig. 251) 13 24 

Coat, fur-cloth, cambric interlining for 13 23 

Coat, fur-cloth, canvas for, (Fig. 250) 13 23 

Coat, fur-cloth, collar for, (Fig. 250) 13 24 

Coat, fur-cloth, front and collar facings for, (Fig. 252) 13 24..25 

Coat, fur-cloth, pocket in 13 25 

Coat, haircloth for lined, (Fig. 205 ) 12 19 

Coat, infants, (Fig. 283) 15 12..13 

Coat, interlining for lined, (Figs. 209-210) 12 23 

Coat, interlining for little girl's 15 22 

Coat, laying pattern on material, (Fig. 202) 12 15 

Coat, lined 12 15..26 

Coat, lining for, (Figs, 215-216) 12 25..26 

Coat, lining for little girl's 15 22 

Coat, loose for little girls 15 22 

Coat, materials suitable for auto and rain 18 11 

Coat, maternity 14 24 

Coat, padding lined, (Figs. 209-210) 12 23. .24 

Coat, padding stitches used, (Fig. 206) 12 19..20 

Coat, plait in back of lining, (Fig. 216) 12 26 

Coat pockets 13 3. .6 

Coat, rain 18 11 

Coat. Russian blouse, basting upper and lower por- 
tions to belt, (Fig. 247) 13 20..21 

Coat, Russian blouse, canvas for, (Fig. 245) 13 17. .18 

Coat, Russian blouse, closing on left front, (Fig. 24S) 13 21 
Coat, Russian blouse, drafting fitted belt for, 

(Fig. 243) 13 13..17 

Coat, Russian blouse, drafting lower part of, 

(Fig. 242) 13 15..16 

Coat, Russian blouse, drafting upper part, (Fig. 241) 13 13. .16 

Coat, Russian blouse, finishing neck and front edges of 13 19. .20 

Coat, Russian blouse, for adult 13 13..21 

Coat, Russian blouse, lining belt of, (Fig. 247) 13 21 

Coat, Russian blouse, lining for 13 20 

Coat, Russian blouse, lining lower portion of 13 21 

Coat, Russian blouse, making belt for, (Fig. 246) 13 19 



Lesson Page 
Coat, Russian blouse, skirt portion with side seams, 

(Fig. 242) 13 15..16 

Coat, Russian blouse, vest for 13 21 

Coat, Russian blouse with high neck 13 21 

Coat, Russian blouse with V-shaped neck, (Fig. 244) 13 17..18 

Coat, Russian, for little girls, (Fig. 291) 15 21..23 

Coat, sack, (Fig. 354) 18 10..11 

Coat, shawl collar on little girl's, (Fig. 292) 15 22 

Coat shirt, (Fig. 316) 16 15 

Coat shirt with plait extending about half-way on 

opening, (Fig. 317) 16 15 

Coat shirt with plait extending full length of open- 
ing, (Fig. 316) 16 15 

Coat, shrinking fullness out of sleeve, (Fig. 214) .... 12 25 

Coat, sleeve, drafting a two-piece 3 8. .11 

Coat, sleeves of evening 13 11 

Coat, stitching stand part of collar for a lined, 

(Fig. 207) 12 21 

Coat, tourist 18 11 

Coat, use of sateen in little girl's, (Figs. 293-294).. 15 22 

Coat, weights in bottom of 12 31 

Collar and band in one for a man's shirt, (Fig. 311) 16 7. .8 

Collar and cuff sets 27 19 

Collar and cuff sets in Wallachain design, (Fig. 382) 20 11..12 

Collar and lapels of a lined coat 12 8..9 

Collar attached for a man's shirt, (Fig. 314) 16 11..12 

Collar, applying canvas to lined coat 12 21..22 

Collar, applying to lined coat, (Fig. 208) 12 22 

Collarbone 4 20 

Collar, boning an unlined 26 15..16 

Collar, boning lining of 26 14. .15 

Collar, braiding an evening coat 13 12.. 13 

Collar, Buster Brown, (Fig. 123) 6 12 

Collar, cutting and basting a sailor, (Fig. 125) 6 13..14 

Collar, cutting pattern for a rolled turn-over 12 10 

Collar, detached for a man's shirt, (Fig. 320) 16 20.-21 

Collar, drafting a stock, (Fig. 121) 6 9..10 

Collar, drafting a wrapper, (Fig. 122) 6 10-11 

Collar, embroidered with tab to match, (N, Fig. 525) 26 8..9 

Collars, fancy, (Fig. 234) 13 7 

Collars, fancy, finishing corners and curved seams 

of, (Fig. 234) 13 7 

Collar, fichu, (Fig. 526) 27 19.20 

Collar, finishing edges of unlined 27 16 

Collar for fur-cloth coat 13 24 

Collar for summer use on man's night shirt, (Fig. 322) 16 25 

Collar for winter use on man's night shirt, (Fig. 322) 16 25 

Collar, making foundation pattern for 27 13..14 

Collar on man's bathrobe, (Fig. 323) 16 28-29 

Col'ar of an evening coat, (Fig. 240) 13 12 

Collar of an evening or auto cape 13 28 

Collar, one-piece yoke and, (Fig. 116) 6 4. .6 



Lesson Page 
Collar, one-piece yoke and collar opening in back, 

(Fig. 117) 6 5.6 

Collar, one-piece yoke and collar opening on left 

shoulder, (Fig. 118) 6 6 

Collar, plain standing, (H, Fig. 525) 27 12 

Collar, Sailor and Dutch, (Fig. 123) 6 12 

Collar, sewing on hooks and eyes of 27 15 

Collar, shawl 12 28-29 

Collar, shawl, applying interlining to, (Fig. 219) 12 28..29 

Collar, shawl, applying to coat, (Fig. 221) 12 29 

Collar, shawl, drafting of 12 28 

Collar, shawl, stitching standing part of, (Fig. 220) . . 12 29 

Collar, stitching stand part for lined coat, (Fig. 207) 12 21 

Collar, stock, beaded or embroidered, (F, Fig. 525).. 27 16..17 

Collar, stock, made of net with silk bow, (F, Fig. 525) 27 16..17 
Collar, stock and tie in tailored design made of linen 

or pique, (M, Fig. 525) 27 17.18 

Collar, transparent 5 25 

Color, combination of 24 22. .24 

Color, for specific purposes 24 30. .31 

Color, harmony of 24 20.21 

Color lace to match a gown, to 29 17 

Color, origin of 24 21.22 

Color, versus temparament 24 29.. 30 

Colored materials, sponging 12 4 

Colors adapted to figures 24 31 

Colors for the between-type 24 28. .29 

Colors for the blonde 24 24..26 

Colors for the brunette 24 27..28 

Colors of nature 24 24 

Colors to use in beading 23 5. .6 

Colors to use in braiding 22 15 

Colors to use in stenciling 22 19. .23 

Combination suit, making corset cover part, (Figs. 

340-341 ) 17 28..29 

Combination suit, making drawer part, (Fig. 342) . . 17 29. .30 
Combination suit, making petticoat and knicker- 
bockers, (Fig. 336) 17 25..26 

Combination suit of corset cover and drawers joined 

at waist, (Fig. 335) 17 23..24 

Combination suit of corset cover, petticoat and 

knickerbockers 17 25. .26 

Combination suit with top and lower portions in 

one piece, (Fig. 338) 17 26..28 

Comforts, infant's 15 13. .14 

Confirmation dresses 19 26 

Constructing a home made dress form 29 8. .9 

Constructing waistline of a fifteen-gore skirt 8 21 

Constructing waistline of a five-gore skirt 8 15 

Constructing waistline of a nine-gore skirt 8 18 

Constructing waistline of seven-gore skirt 7 7. .8 

Construction of Sailor collar on Eton coat 18 5. .7 



Lesson Page 

Coral-Stitch, (Figs. 370-371) 20 7 

Coral-stitcli, single, (Pig. 370) 20 7 

Coral-stitch, double 20 7 

Coral-stitch, treble, (Fig. 371) 20 7 

Cord buttonholes 26 30 

Cord seam, (Fig. 44) 1 25 

Cord shirring 9 29 

Cording 1 29 

Cording, plain 1 29 

Cording, shirred, (Fig. 54) 1 29 

Corset, evolution of 25 13. .18 

Corset, maternity 14 21 

Corset cover, finishing armhole edges of, (Fig. 341) . . 17 29 

Corset cover, finishing top edges of, (Fig. 340) 17 28. .29 

Corset cover of embroidery, (Pig. 332) 17 20..21 

Corset cover, tight-fitting ; 17 20 

Corset cover without seams 17 23 

Costumes for masquerade parties 19 14.17 

Costume dress in Colonial style, (Pig. 363) 19 15 

Costume dress in Indian style, (Fig. 364) 19 15. .16 

Costume dress of Night, (Fig. 366) 19 17 

Costume dress of shepherdess style, (Fig. 365) 19 16 

Cotton from linen, to tell 29 24..25 

Cotton, origin of 25 4.7 

Cotton, to test 29 24 

Couching-stitch, (Pig. 368-A) 20 6 

Covering canvas foundation of belts 21 5. .6 

Crepe folds 1 27 

Cross-stitch, (Pig. 383) 20 12..14 

Cross-stitch, double, (Fig. 385) 20 14 

Cross-stitch, waist front in, (Pig. 384) 20 13. .14 

Crow-foot, (Pigs. 50-51-52) 1 28 

Cuff, applying to sleeve of a lined coat, (Figs. 212-213) 12 24..25 

Cuff, attaching to shirtwaist sleeve 4 30 

Cuff, detached with tab, for a man's shirt, (Fig. 319) 16 19. .20 

Cuff, drafting a circular, (Fig. 126) 6 15. .16 

Cuff, for Bishop sleeve, (Fig. 89) 4 31 

Cuff, for shirtwaist sleeve, (Figs. 83-84) 4 29. .30 

Cuff, interlining for shirtwaist 4 29 

Cuff, lapped, (Fig. 87) 4 31 

Cuff, making shirtwaist sleeve 4 29 

Cuffs on sleeve of an evening coat 13 11 

Cut goods under insertion, to 29 23 

Cutting a man's shirt 16 10 

Cutting a man's shirt sleeves 16 10 

Cutting and applying collar facings to unlined coat. . 12 30 

Cutting and applying facings to a lined coat 12 22. .23 

Cutting and applying front facings to unlined coat. . 12 29. .30 
Cutting and applying interlining and sheet wadding 

to a lined coat, (Figs. 209-210) 12 23. .24 

Cutting and basting sailor collars, (Fig. 125) 6 13. .14 

Cutting and making a divided skirt 18 20.22 



Lesson Page 

C'uLtiug aud making a skirt witli double box-plait 

front and back 11 28. .29 

Cutting and making a skirt with four long gores 

and four short gores, (Fig. 189) 11 21. .22 

Cutting and making a skirt with plaits on back edge 

of gores, (Fig. 175) 11 7..8 

Cutting and making a skirt with plaits on front edge 

of gores, (Fig. 176) 11 8.9 

Cutting and making a skirt with yoke and plaited . 

flounce, (Fig. 183) 11 14. .16 

Cutting and making an infant's slip 15 6. .7 

Cutting and making attached collar of a man's shirt. . 16 11. .12 

Cutting and making sleeves of unlined coat, (Fig. 222) 12 30. .31 

Cutting buttonholes 1 11-12 

Cutting collar facing for a lined coat 12 22 

Cutting draft for seven-gore skirt 7 18 

Cutting front and back sections of waist draft apart 3 6 

Cutting gores of skirt from plaid material, (Fig. 173) 10 24. .26 

Cutting gores of skirt from striped material, (Fig. 172) 10 24. .26 
Cutting interlinings for neckband, collar, etc. of a 

man's shirt 16 11 

Cutting lining for semi-fitting coat 12 25 

Cutting, making and applying bands and folds on 

skirts 11 3.-4 

Cutting neckband, collar, wristbands, cuffs and 

pocket of a man's shirt 16 10. .11 

Cutting opening for a coat pocket 13 4 

Cutting pattern for a rolled turn-over collar 12 10 

Cutting sections of semi-fitting coat draft apart.... 12 10.11 

Cutting sections of tight-fitting coat draft apart 12 13. .14 

Cutting shirtwaist neckband 4 28 

Cutting sleeve lining for semi-fitting coat 12 26 

Cutting the princess sections apart 14 7 

Cutting under part of sleeve lining 3 12 

Cutting upper part of sleeve lining 3 12 

D 

Darn a tear invisibly, to 29 18. .19 

Darning-stitch, (Fig. 390) 20 17 

Darning-stitch in floral design, (Fig. 393) 20 18 

Dart measure of skirt, (Fig. 56) 7 3 

Dart measure of waist, (Fig. 56) 2 9 

Darts, boning the, (Fig. 68) 4 16 

Darts, proportioning in fifteen-gore skirt 8 21 

Darts, proportioning in five-gore skirt 8 16 

Darts, proportioning in nine-gore skirt 8 18 

Deep circular skirt peplum 9 16 

Deep circular skirt yoke, (Fig. 158) 9 14. .15 

Deep fi'tted girdles, (Figs. 419-420) 21 19..22 

Depth of back measure, (Fig. 57) 2 9 

Designing, color versus temperament 24 29. .30 



Lesson Page 

Designing, definition of 24 3 

Designing for a figure that is both short and slender 24 18. .19 
Designing for a figure with long waist and short 

skirt, (Figs. 469-471) 24 11..14 

Designing for a figure with low bust and prominent 

abdomen, (Figs. 474-475) 24 15. .18 

Designing for a figure with short waist and long 

skirt, (Figs. 468-470) 24 11..14 

Designing" for a long waisted figure, (Figs. 465-467) 24 10. .12 

Designing for a short waisted figure, (Figs. 464-466) 24 10. .12 

Designing for a very slender figure, (Figs. 472-473) 24 14. .15 

Designing for the between-color type 24 28. .29 

Designing for the blondes 24 24. .26 

Designing for the brunettes 24 27. .28 

Designing, in reference to anatomy 24 4 

Designing, in reference to color 24 20..24 

Designing, in refernce to color for specific purposes 24 30. .31 

Designing, in reference to colors adapted to figures. . 24 31 
Designing, in reference to lines adapted to poise, 

(Fig. 459) 24 6..7 

Designing, in reference to material adapted to figures 25 11. .13 
Designing, in reference to material for specific pur- 
poses ■. ... 25 9.11 

Designing, in reference to materials 24 4. .5 

Designing, in reference to observation 24 5 

Designing, in reference to origin of color 24 21. .22 

Designing, in reference to origin of material 25 3.-7 

Designing, in reference to pattern of material 25 7. .8 

Designing, in reference to proper balance of Avaist, 

sleeve and skirt 24 19 

Designing, in reference to relative value of smooth 

and rough materials 25 8. .9 

Designing, in reference to seasonableness in colors.. 24 4 

Designing, in reference to studying the individual.. 24 5.-6 

Designing, in reference to temperament 24 4 

Designing, in reference to the term modiste, dress- 
maker and seamstress 24 3 

Designing, in reference to trimmings 24 19 

Designing, misapplication of lines, (Fig. 460-462) . . 24 6. .8 
Designing, proportional study of the model figure, 

(Fig. 463) 24 9. .10 

Designing, showing how impossible it is for the stout 
woman to wear the same style as the slender 

woman, (Figs. 478-479) 24 18 

Designing, showing how long lines may be worn by 

tall people, (Figs. 476-477) 24 17 

Designing, studying Nature for harmony of color. . 24 20. .21 

Designing, summary of lines 24 19. .20 

Determine quality of silk, to 30 17 

Diamond-stitch used in smocking, (Fig. 27) 1 18 

Diaper ; for an infant 15 14 

Different methods of shirring skirts 9 28..29 



Lesson Page 

Divided equestrian skirt, (Fig. 358) 18 16..22 

Divided equestrian skirt, cutting and making 18 20. .22 

Divided equestrian skirt, gusset in, (Fig. 359) 18 21 

Double box-plait, placket finished with, (Fig. 147).. 8 9 

Double box-plaited skirts 10 18. .19 

Double chain-stitch, (Fig. 376) 20 9. .10 

Double coral-stitch 20 7 

Double cross-stitch, (Fig. 385) 20 14 

Double-stitched seam 1 22 

Double-stitched slot seam, (Fig. 40) 1 24 

Double-stitched welt seam, (Fig. 37) 1 23 

Drafting a band for drawers, (Fig. 329) 17 17 

Drafting a Bishop sleeve, (Fig. 62) 3 14..16 

Drafting a brassiere pattern, (Fig. 334) 17 22 

Drafting a child's plain drawer pattern 17 32 

Drafting a circular cuff, (Fig. 126) 6 15. .16 

Drafting a circular drawer pattern, (Fig. 330) 17 17.18 

Drafting a combination suit of corset cover and 

drawers joined at waistline, (Fig. 335) 17 23-24 

Drafting a combination suit with top and lower por- 
tions in one, (Fig. 338) 17 20.28 

Drafting a divided equestrian skirt, (Fig. 358) 18 16. .19 

Drafting an eight-gore skirt with s?am down center 

front and center back 10 11 

Drafting an Eton coat with round collar, (Fig. 346).. 18 8 

Drafting an Eton coat with Sailor collar, (Fig. 346) 18 3..5 

Drafting an Eton coat with shawl collar, (Fig. 351) 18 8. .9 

Drafting an evening or auto cape, (Fig. 254) 13 26. .27 

Drafting a fifteen-gore flare skirt 8 22..23 

Drafting a fifteen-gore princess, (Fig. 256) 14 5. .6 

Drafting a fifteen-gore skirt 8 20..22 

Drafting a five-gore flare skirt 8 16. .17 

Drafting a five-gore skirt, (Fig. 149) 8 14. .16 

Drafting a gusset for a divided equestrian skirt, 

(Fig. 359) 18 21 

Drafting a high waistline skirt, (Fig. 153) 9 10 

Drafting a Leg O'Mutton sleeve, (Fig. 64) 3 18. .19 

Drafting a litle girl's kimono with seam down center 

back, (Fig. 285) 15 16.17 

Drafting a little girl's one-piece apron, (Fig. 286) . . 15 18 

Drafting a little girl's rompers, (Fig. 288) 15 18..20 

Drafting a man's bathrobe, (Fig. 324) 16 26. .27 

Drafting a man's negligee shirt, (Fig. 308) 16 3. .6 

Drafting a man's shirt sleeve, (Fig. 309) 16 6. .7 

Drafting a man's shirt with plaited bosom 16 6 

Darfting a Mosquetaire sleeve, (Fig. 63) 3 16. .18 

Drafting a nine-gore princess, (Fig. 255) 14 3. .5 

Drafting a nine-gore skirt, (Fig. 150) 8 17..18 

Drafting a plain drawer pattern, (Fig. 325) 17 14. .15 

Drafting a plain collar shown in (L, Fig. 525) 27 13 

Drafting a pocket for a man's shirt, (Fig. 312) 16 8 



Lesson Page 
Drafting a rolled turn-over collar and lapels, 

(Fig. 198) 12 8.-9 

Drafting a sack coat, (Fig. 354) 18 10..11 

Drafting a semi-fitting coat, (Fig. 198) 12 5..11 

Drafting a seven-gore princess 14 3 

Drafting a shirtwaist, (Fig. 71) 4 20..22 

Drafting a shirtwaist neckband, (Fig. 77) 4 27..28 

Drafting a shirtwaist sleeve, (Fig. 61) 3 12. .14 

Drafting a six-gore skirt with seam down center 

front and center back 10 10. .11 

Drafting a tailor's cushion, (Fig. 201) 12 14 

Drafting a tight-fitting coat, (Fig. 200) 12 11..13 

Drafting a two-piece coat sleeve 3 8. .11 

Drafting a tunic or over-skirt, (Fig. 188) 11 19..20 

Drafting a wrapper collar, (Fig. 122) 6 10. .11 

Drafting a yoke for underskirt, (Fig. 331) 17 19 

Drafting back of an infant's slip, (Fig. 269) 15 5 

Drafting back of boys' knee pants or trousers, 

(Fig. 301) 17 4..6 

Drafting belt part of Russian blouse coat, (Fig. 243) 13 17 
Drafting collar and band in one for a man's shirt, 

(Fig. 311) 16 7.-8 

Drafting deep collar for a man's shirt, (Fig. 320) . . 16 21. .22 

Drafting detached collar for a man's shirt, (Fig. 320) 16 20. .21 

Drafting for little girls' clothing 15 14. .15 

Drafting front of an infant's slip, (Fig. 268) 15 4 

Drafting front of boys' knee pants or trousers, 

(Fig. 300) 17 3..4 

Drafting, irregularities in skirt'. 10 19. .21 

Drafting lining part of auto cap, (Fig. 357) 18 14. .15 

Drafting lining with a three-piece back and a two- 
dart front for a 40 inch bust and over, (Fig. 58) 2 22..24 
Drafting lining with a two-piece back and a two- 
dart front. . 2 12 .21 

Drafting lower part of Russian blouse coat, (Fig. 242) 13 15. .16 

Drafting neckband for a man's shirt, (Fig. 310) .... 16 7 

Drafting child's one-piece drawers, (Figs. 344-345) . . 15 30. .31 

Drafting outside part of auto cap, (Fig. 356) IS 12..13 

Drafting pattern for kimono waist, (Fig. Ill) 30 23..25 

Drafting pattern for mannish shirtwaist, (Fig. I).... 30 21. .23 

Drafting pattern for a stock collar, (Fig. 121) 6 9. .10 

Drafting pattern of fancy waist illustrated in (Fig. 

90) 5 4 

Drafting pattern of fancy waist illustrated in (Fig. 

92) 5 5.6 

Drafting pattern of fancy waist illustrated in (Fig. 

94) 5 7.8 

Drafting Sailor and Dutch collars, (Fig. 123) 6 12 

Drafting skirt for an even number of gores without 

a seam down center front or back 10 12 

Drafting skirt for flat abdomen and flat back 10 20 

Dr.ifting skirt for prominent abdomen and flat back 10 20 



Lesson Page 

Drafting skirt for shorter back length than front 10 20 

Drafting skirt when one hip is larger than the other 10 21 
Drafting skirt with double box-plaits front and back, 

(Fig. 196-A) 11 27-28 

Drafting skirt with irregular flounce, (Fig. 187).... 11 16. .18 
Drafting skirt with irregular side gores at hip line, 

(Fig. 194) 11 24..25 

Drafting skirt with irregular side gores below the 

hip line, (Fig. 195) 11 25..26 

Drafting skirt with small tucks at the top, (Fig. 178) 11 9. .10 
Drafting skirt with yoke and plaited flounce, 

(Fig. 184) 11..13..16 

Drafting sleeve of an infant's slip, (Fig. 270) 15 5..6 

Drafting top of seven-gore skirt 7 5. .12 

Drafting upper part of Russian blouse coat, (Fig. 241) 13 13. .16 

Draping 5 22..27 

Draping back of waist 5 24 

Draping back of yoke 5 23 

Draping evening or low-necked waist, (Fig. 115).... 5 25. .26 

Draping front of waist, (Fig. 114) 5 24 

Draping front of yoke, (Fig. 113) 5 23. .24 

Drawers, applying insertion above a hem, (Fig. 328) . . 17 16 

Drawers, applying insertion in, (Fig. 327) 17 16 

Drawers, drafting for a child's one-piece, (Fig. 

344) 17 30..31 

Drawers, drafting for a child's plain 17 32 

Drawers, drafting for circular, (Fig. 330) 17 17. .18 

Drawers, drafting for plain, (Fig. 325) 17 14. .15 

Drawers, facing on open, (Fig, 326) , 17 15 

Drawers, ruffle on, (Fig. 342 ) 17 29.30 

Drawing dart lines of seven-gore skirt 7 10. .11 

Dress accessories 27 3.38 

Dress accessories 28 3..33 

Dress accessories, belts 28 21..23 

Dress accessories, buckles 28 16. .21 

Dress accessories, collar and cuff sets 27 19 

Dress accessories, daisies, (Fig. 535) 28 6. .7 

Dress accessories, double roses, (Fig. 539) 28 10-15 

Dress accessories, fancy collars 27 14..16 

Dress accessories, fancy neckbands 27 8..11 

Dress accessories, fichu, (Fig. 526) 27 19-20 

Dress accessories, for the bride, (Fig. 545) 28 23-28 

Dress accessories, for the graduate, (Fig. 546) 28 28-33 

Dress accessories, forget-me-nots '. 28 5-6 

Dress accessories, handbags, (Fig. 530) , 27 29.. 33 

Dress accessories, hat pins '. 28 15 

Dress accessories, jabots 27 5-8 

Dress accessories, heck bows 27 11. .12 

Dress accessories, neckwear, (Fig. 525)/;..'.'. 27 4..20 

Dress accessories, parasols, (Fig. 451) 28" 15-17 

Dress accessories, ribbon flowers 28 3-15 

Dress accessories, rosebuds, ( Fig. 538) 28 9. .10 



Lesson Page 

Dress accessories, rosettes 28 9..10 

Dress accessories, saslies, (Fig. 423) 21 24..29 

Dress accessories, sashes, (Figs. 527, 528, 529) 27 20..26 

Dress accessories, scarfs 27 26..29 

Dress accessories, stock collars 27 16..19 

Dress accessories, violet, (Fig. 534) 28 4..5 

Dress accessories, wild roses, (Figs. 436, 437) 28 7..9 

Dress for an infant, (Fig. 274) 15 8 

Dress form, constructing a home made 29 8. .9 

Dress in Colonial style, (Fig. 363) 19 15 

Dress in Indian style, (Fig. 364) 19 15..16 

Dress in shepherdess style, (Fig. 365) 19 16 

Dress of Night, (Fig. 366) 19 17 

Dress trimmings 23 3..32 

Dresses for confirmation 19 26 

Dresses for graduation 19 22. .26 

Dresses for mourning 19 26. .29 

Dressing sacks 14 15. .16 

Dressing sack skirt portion 14 15 

Dressing sack sleeves 14 16 

Dressmaker, equipment for a home 29 3..8 

Dressmaking, fitting up a shop 29 12. .14 

Dutch collars, (Fig. 123) 6 12 

E 

Eight-gore skirt 10 11 

Eight-gore skirt, drafting with seam down center 

front and center back 10 11 

Elbow measure, (Fig. 57) 3 8 

Eleven-gore skirt 10 10 

Embroider stem or outline-stitch, to 29 25 

Embroidered belts, (A, and B, Fig. 544) 28 21..22 

Embroidered buckles, (Fig. 543) 28 20 

Embroidered buckles, detail of making 28 19. .21 

Embroidered buttons, (Fig. 520) 26 19..25 

Embroidered buttons, covering molds 26 22 

Embroidered buttons, cross design in flat satin- 
stitch, (Fig. 520) 26 21 

Embroidered buttons, different designs 26 21 

Embroidered buttons, dogwood blossom in cut-work 

(Fig. 520) 26 20 

Embroidered buttons, eyelet and French knots, 

(Fig. 520) 26 20..21 

Embroidered buttons, Greek design in woven spider 

web, (Fig. 620) '. 26 21..23 

Embroidered buttons, important points 26 21 

Embroidered buttons, in beads or jewels, (Fig. 520) 26 24 

Embroidered buttons, in butterfly design, (Fig. 520) . . 26 20..21 
Embroidered buttons, molds covered with the mater- 
ial and a frill of lace or plaited taffeta around 

edge 26 19 



Lesson Page 

Embroidered buttons, stencilled, (Fig. 520) 26 24 

Embroidered buttons, witli looped lines, (Fig. 520).. 26 24 

Embroidered buttons, with seed beads, (Fig. 520).... 26 24 

Embroidered corset cover, (Fig. 332) 17 20..21 

Embroidery stitches 20 3. .32 

Embroidery stitches 26 3..14 

Embroidery stitches, arrow-head, (Fig. 401) 20 25 

Embroidery stitches, articles necessary for 20 28. .29 

Embroidery stitches, back. (Fig. 400) 20 23..24 

Embroidery stitches, Bermuda fagotting, (Fig. 516).. 26 14. .17 
Embroidery stitches, bird's-eye or lazy daisy, 

(Fig. 387) 20 14..15 

Embroidery stitches, butterfly design in Bermuda 

fagotting, (Fig. 518) 26 16..17 

Embroidery stitches, buttonholing, (Fig. 380) 20 10..11 

Embroidery stitches, braid, (Fig. 404) 20 26. .27 

Embroidery stitches, chain, (Fig. 375) 20 9 

Embroidery stitches, choosing colors for shadow.... 26 5. .6 
Embroidery stitches, collar and cuff set in Wallachain 

design, (Fig. 382) 20 11. .12 

Embroidery stitches, combined with net, lace, etc., 

(Figs. 405-406) 20 30. .32 

Embroidery stitches, coral, (Fig. 370) 20 7 

Embroidery stitches, couching. (Fig. 368-A) 20 6 

Embroidery stitches, cross, (Fig. 383) 20 12. .14 

Embroidery stitches, damask, (Fig. 512) 26 12 

Embroidery stitches, darning, (Fig. 390) 20 17 

Embroidery stitches, darning in floral designs, 

(Fig. 393) 20 18 

Embroidery stitches, design for w^aist that opens in 

the back, (Fig. 405) 20 30. .31 

Embroidery stitches, design for waist that opens in- 

the front, (Fig. 406 ) 20 31. .32 

Embroidery stitches, design used for shadow 26 6 

Embroidery stitches, detail of Bermuda fagotting, 

(Figs. 516. .517) 26 14..17 

Embroidered stitches, detail of French shadow, 

(Fig. 511) 26 10..12 

Embroidery stitches, detail of shadow, (Fig. 507) .... 26 7..8 

Embroidery stitches, double-chain, (Fig. 376) 20 9. .10 

Embroidery stitches, double coral 20 7 

Embroidery stitches, double-cross, (Fig. 385) 20 14 

Embroidery stitches, eyelet or Madeira 22 29. .31 

Embroidery stitches, eyelets buttonholed, (Fig. 439-C) 22 30 
Embroidery stitches, eyelets shaded in both the over- 
cast and buttonholed, (Figs. 439-D-439-E) 22 30 

Embroidery stitches, fagotting, (Fig. 394) 20 18. .19 

Embroidery stitches, feather or brier. (Fig. 369)..... 20 6. .7 
Embroidery stitches, feather-stitch in circle design, 

(Fig. 373) 20 8 

Embroidery stitches, feather-stitch in serpentine 

lines, (Fig. 372) 20 8 



LessOn Page 
Embroidery stitches, finishing edge of shadow ap- 
plique, (Pigs. 508..509) 26 9..10 

Embroidery stitches, French knot, (Fig. 389) 20 15..16 

Embroidery stitches, French knots to simulate beads 20 16.. 17 

Embroidery stitches, French shadow, (Pig. 510) .... 26 10..12 

Embroidery stitches, French stem, (Pig. 399) 20 23 

Embroidery stitches, German-knot, (Pig. 403) 20 25..26 

Embroidery stitches, honeycomb, (Fig. 505) 26 3. .4 

Embroidery stitches, how applied 20 27 

Embroidery stitches, how to choose thread and silk. . 20 27-28 

Embroidery stitches, important points in 20 29. .30 

Embroidery stitches, lattice or cat . 26 4 

Embroidery stitches, long and short, (Pig. 397) 20 21 

Embroidery stitches, on jabots, (Fig. 407) 20 32 

Embroidery stitches, outline or stem,( Fig. 368).... 20 5. .6 
Embroidery stitches, oval eyelets overcast, (Fig. 

439-B) 22 29 

Embroidery stitches, overcast, (Pig. 396) 20 20..21 

Embroidery stitches, pattern darning, (Figs. 391-392) 20 17..18 

Embroidery stitches, ribbed wheel, (Pig. 515) 26 14 

Embroidery stitches, Roumanian, (Pig. 519) 26 17..18 

Embroidery stitches, round eyelets overcast, 

(Fig. 439-A) 22 29 

Embroidery stitches, satin, (Fig. 398) 20 21..23 

Embroidery stitches, seed or dot, (Pig. 386) 20 14 

Embroidery stitches, shadow, (Pig. 507) 26 4. .8 

Embroidery stitches, split, (Fig. 378) 20 10 

Embroidery stitches, stamping for shadow 26 6. .7 

Embroidery stitches, treble coral, (Fig. 371) 20 7 

Embroidery stitches, triangular buttonholing, 

(Fig. 506) 26 4 

Embroidery stitches, twisted bars, (Pig. 513) 26 12. .13 

Embroidery .stitches, twisted chain, (Pig. 377) 20 10 

Embroidery stitches, twisted running, (Pig. 379) .... 20 10 

Embroidery stitches, vine, (Fig. 374) 20 8. .9 

Embroidery stitches, vine medallion in bird's-eye 

or lazy daisy, (Fig. 388) 20 15 

Embroidery stitches, waist front in cross-stitch, 

(Pig. 384) 20 13.14 

Embroidery stitches, Wallachian, (Pier. 381) 20 11..12 

Embroidery stitches, washable French knot, (Pig. 389) 20 16 

Embroidery stitches, wheat, (Pig. 402) 20 25 

Embroidery stitches, where shadow employed 26 5 

Embroidery stitches, woven spider, (Pig. 514) 26 13-14 

Embroidery stitches, woven spider combined with 

lace insertion, (Pig. 514) 26 13. 14 

Empire gowns of 1800 to 1825, (Figs. 492-493) . . '. . 25 25. .26 

Empire gowns of past compared with present, 

(Figs. 497-438) 25 32 

Empire gowns, maternity, (Pigs. 262-263-264) . 14 19. .21 

End of thread, knotting . 1 5. 

Equestrian skirt, divided . . 18 16. .22 



Lesson Page 

Equestrian skirt, divided, drafting a, (Fig. 358) 18 16..19 

Equestrian skirt, divided, making 18 20..22 

Equestrian skirt. Inserting gusset 18 21 

Equipment for the home-dressmaker 29 3 8 

Etiquette, wedding , 19 ^^"^^ 

Eton coat, a seven-piece 18 7 

Eton coat, an eight-piece 18 ^ 

Eton coat, basting Sailor collar to 18 6 

Eton coat, construction of Sailor collar 18 5-6 

Eton coat, cutting canvas for 18 5 

Eton coat, draft of round collar, (Fig. 346) 18 » 

Eton coat, draft with shawl collar and no underarm 

seam, (Fig. 351 ) 18 8..9 

Eton coat draft, tracing Sailor collar, (Pig. 346) 18 5 

Eton coat draft, tracing sections of 18 5 

Eton coat draft with Sailor collar, (Fig. 346) 18 3..7 

Eton coat, haircloth for 18 5 

Eton coat in kimono style 18 9 

Eton coat with round collar, (Fig. 350) 18 8 

Eton coat, with Sailor collar, (Fig. 348) 18 7 

Eton coat, with shawl collar, (Fig. 347) 18 7 

Eton coat, with no center-back seam,( Fig. 352).... 18 9 

Eton coat, with no side-back seam, (Fig. 353) 18 9 

Eton coat without collar, (Fig. 349) 18 7 

Even basting-stitch, (Fig. 1) 1 6 

Even number of gored skirts 10 10. .13 

Even number of gored skirts, drafting without a 

seam down center front and back 10 12 

Evening cape, adjusting collar to 13 29 

Evening cape, collar of 13 28 

Evening cape, draft of, (Fig. 254) 13 . 26 

Evening cape, finishing edges of 13 29-30 

Evening cape, finishing slashes for arms of 13 30 

Evening cape, four-piece 13 27. .28 

Evening cape, lining of 13 30 

Evening cape, making of 13 29 

Evening cape, materials suitable for 13 28 

Evening cape, one-piece 13 27 

Evening cape, two-piece 13 27 

Evening cape, use of cambric in 13 29 

Evening coat, (Fig. 235) 13 8. .13 

Evening coat, basting seams of, (Fig. 238) 13 10 

Evening coat, braiding collar of 13 12. .13 

Evening coat, canvas applied in back, (Fig. 237).... 13 9 

Evening coat, canvas applied in front, (Fig. 236) .... 13 9 

Evening coat, collar of, (Fig. 240) 13 12 

Evening coat, cuffs on sleeves of 13 11 

Evening coat, finishing bottom of, (Fig. 239) 13 10 

Evening coat, interlining of 13 11 

Evening coat, lining of 13 13 

Evening coat, materials suitable for 13 8 

Evening coat, sleeves of 13 11 



Lesson Page 

Evening coat, taping edges 13 9 

Evening dresses for a bride 19 19 

Evening dresses for a trip abroad 19 9. .10 

Evening dresses for a trip Soutli 19 5. .6 

Evening or auto cape, (Fig. 253) 13 25..30 

Evening or low-necked waists, draping, (Fig. 115).. 5 25. .26 
Evolution of the corset, (Figs. 480-481-482-483-484- 

485-486) 25 13..18 

Extension of gores of seven-gore skirt 7 12. .13 

Eyelets, (Figs. 19-20) 1 15. .16 

Eyelet, buttonholed, (Fig. 439-C) 22 30 

Eyelet, embroidered button in, (Fig. 520) 26 20 

Eyelet or Maderia embroidery-stitch 22 29. .31 

Eyelet overcasting, oval, (Fig. 439-B) 22 29 

Eyelet overcast, round, (Fig. 439-A) 22 29 

Eyelet, shaded in both the overcast and buttonholed, 

(Figs. 439-D and 439-E) 22 30 

F 

Face of square 2 4. .5 

Facing bottom of skirt 8 13 

Facing drawn through pocket opening, (Fig. 225).. 13 4 

Facing for coat pocket 13 4 

Facing of in-and-out pocket lap drawn through 

opening and basted to other facing, (Figs. 

232-233) 13 6 

Facing upper edge of pocket piece, (Fig. 230) 13 5 

Facings of front opening of boys' pants, (Fig. 302-A) 17 7..8 

Facings of lined coat 12 22 

Facings of a lined coat collar 12 22 

Facings of unlined coat 12 29..30 

Facings of unlined coat collar 12 3J0 

Facings on little girl's coat, (Figs. 293-294) 15 22 

Facing on open drawers, (Fig. 326) 17 15 

Fagotting, (Fig. 33) 1 21. .22 

Fagotting in embroidery, (Fig. 394) 20 18. .19 

Fagotting substituted for beading 29 23 

Fancy collar, (Fig. 234) 13 7 

Fancy collar, fininshing corners and curved seams, 

(Pig. 234) 13 7 

Fancy pendant for end of girdle, (Fig. 418) 21 18. .19 

Fancy waist, drafting of, with double yoke and 

tucks, (Fig. 93) 5 5..7 

Fancy waist, drafting of, with tucks and insertion, 

(Fig. 95) 5 7.9 

Fancy waist, drafting of, with yoke and tucks, 

(Fig. 91) 5 3..4 

Fancy waist, gathered kimono. (Fig. 112) 5 23 

Fancy waist, kimono, (Fig. 108) 5 20 

Fancy waist, kimono, tucked, (Fig. 110) 5 21 

Fancy waist, tucked kimono, basting, (Fig. 111).... 5 21 



Lesson Page 

Fancy waist with double yoke and tucks, (Fig. 92) . . 5 5. .6 

Fancy waist with tucks and insertion, (Fig. 94) 5 7. .8 

Fancy waist with yoke and tucks, (Fig. 90) 5 3. .4 

Farthingale gowns, (Figs. 487, 488, 489) 25 22 

Fashions, origin of 25 13. .35 

Fashions, review from the XIII century to the 

present time 25 19. .35 

Fastenings on coats 12 31 

Feathei-bone 4 15 

Feather-bone, illustrations of 4 13. .14 

Featherbone, ripping 4 18 

Feather or briar-stitch, (Fig. 369) 20 6..7 

Feather-stitch, (Fig. 9) 1 8 

Feather-stitch in circle design, (Fig. 373) 20 8 

Feather-stitch in serpentine design, (Fig. 372) 20 8 

Fell seam, (Fig. 12) 1 10 

Festoons, (Fig. 457) 23 31 

Fichu, collar, (Fig. 526) 27 19..20 

Fichu, making pattern for 27 19..20 

Fichu, materials suitable for 27 20 

Fifteen-gore princess, drafting pattern for, 

(Fig. 256) 14 5..6 

Figures and plaids, matching 14 16. .17 

Finishing a divided skirt 18 21..22 

Finishing a drop or foundation skirt 9 3..6 

Finishing armhole of corset cover, (Fig. 341) 17 29 

Finishing bones at top, (Fig. 70) 4 18 

Finishing bottom of a circular skirt 9 27 

Finishing bottom of box-plaited skirt 10 17 

Finishing bottom of evening coat, (Fig. 239) 13 10 

Finishing bottom of skirt 8 11 

Finishing bottom of skirts of soft material 8 13. .14 

Finishing bottom of unlined coat 12 30 

Finishing bottom of walking skirt, (Fig. 152) 9 7. .8 

Finishing edges of evening or auto cape 13 29. .30 

Finishing edges of unlined collar 27 16 

Finishing ends of scarf 27 29 

Finishing neck and front edges of Russian blouse 

coat 13 19..20 

Fininshing placket, different methods of 8 5. .10 

Finishing placket of a shirred skirt 8 8 

Finishing placket of a skirt that opens in front on 

left-hand side, (Fig. 148) 8 10 

Finishing placket of a skirt with strapped seams.... 8 9. .10 

Finishing placket of a tailor-made skirt, (Fig. 143).. 8 5..6 

Finishing placket of wash skirts, (Fig. 146) 8 9 

Finishing placket on little girl's dress 15 25 

Finishing placket with a double box-plait, (Fig. 147) 8 9 

Finishing placket with hooks and eyes 8 6..7 

Finishing placket with patent fasteners 8 6. .7 

Finishing placket without a fly, (Fig. 145) 8 8. .9 

Finishing raw edges of hem-stitching, (Fig. 30) .... 1 20 



Lesson Page 

Finishing ruffle on drawers, (Fig. 342) 17 29..30 

Finishing seams of a skirt, (Figs. 140-141) 8 4. .5 

Finishing seams of lining 4 8 

Finishing seams in boys' pants, (Fig. 304) 17 10 

Finishing slashes for arms in evening or auto cape. . 13 30 

Finishing top edges of corset cover, (Fig. 340) 17 28. .29 

Finishing top of flounce on outside skirt 10 6. .7 

Finishing yoke on little girl's dress, (Fig. 297) 15 25 

Finishing for upper and lower ends of sashes 21 26. .28 

Finishing for upper and lower ends of sashes 27 20. .26 

Fitting a box-plaited skirt 10 15 

Fitting a canvas foundation belt straight 21 10..11 

Fitting a divided equestrian skirt 18 21 

Fitting a fur-cloth coat 13 24 

Fitting a Gibson waist 5 14 

Fitting a kimono waist 5 19 

Fitting a lined semi-fitting coat 12 20 

Fitting a lined semi-fitting coat, second 12 22 

Fitting a lined semi-fitting coat, third 12 24 

Fitting a lining on a form 4 11 

Fitting a mannish shirtwaist 5 9.10 

Fitting an Eton coat 18 5 

Fitting an evening cape 13 29 

Fitting an evening coat ; 13 10 

Fitting an evening coat, second 13 11 

Fitting an evening coat, third 13 12 

Fitting an unlined coat 12 27 

Fitting an unlined coat, second 12 29 

Fitting a one-piece yoke and collar *■. 6 5 

Fitting a princess 14 7. .8 

Fitting a Russian blouse coat 13 19 

Fitting a Russian blouse coat, second 13 20 

Fitting a Sailor blouse 6 13 

Fitting a princess slip 14 12 

Fitting a semi-princess 14 9. .10 

Fitting a seven-gore skirt 7 21..25 

Fitting a shield or chemisette 6 14..15 

Fitting a shirtwaist 4 25. .26 

Fitting a shirtwaist sleeve 4 26 

Fitting a tucked kimono waist 5 22 

Fitting a tunic or overskirt 11 20 

Fitting irregular or disproportionate figures 6 16. .23 

Fitting, second, of lining 4 9. .10 

Fitting seven-gore skirt second time 7 24. .25 

Fitting side plaited skirt 9 19 

Fitting sleeve lining 4 7 

Fitting the high "waistline skirt , 9 12 

Fitting tight lining 4 5. .6 

Fitting up a dressmaking shop 29 12. .14 

Five-gore skirt, drafting, (Fig. 149) 8 15. .17 

Five-gore skirt flare 8 16. .17 

Five-gore skirt, proportioning gores at hip 8 14. .15 



Lesson Page 

Flare, fifteen-gore skirt 8 22. .23 

Flare, five-gore skirt 8 16..17 

Flare, nine-gore skirt 8 19. .20 

Flare, seven-gore skirt 7 14. .17 

Flat shirring, (Fig. 163) 9 29 

Flat-stitch, (Fig. 396) 20 19..20 

Flounce, accordion plaited 9 6 

Flounce, embroidery, fastened to princess slip with 

buttons and buttonholes, (Fig. 257) 14 11. .13 

Flounce, graduated, amount of material required.... 9 5 

Flounce, graduated, for drop skirt 9 4. .5 

Flounce on semi-princess 14 10 

Flounce, skirt with a deep, at bottom, (Fig. 182) 11 12 

Flounce, skirt with a plaited, at bottom, (Fig. 183) . . 11 12..18 

Flounces, finishing top of, for an outside skirt 10 6. .7 

Flounces, graduated, flared,, for outside skirt 10 4. .7 

Flounces, graduated, for outside skirt 10 3. .7 

Flounces, outside skirts with 10 3. .7 

Flowers, daisies, (Fig. 535) 28 6. .7 

Flowers, double roses, (Figs. 538, 539, 540) 28 10..15 

Flowers, forget-me-nots 28 5. .6 

Flowers, ribbon, points in making 28 3 

Flowers, rosebuds, (Fig. 538) 28 9. .10 

Flowers, violet, (Fig. 534) 28 4. .5 

Flowers, wild roses, (Fig. 536-537) 28 7. .9 

Folds, applying to skirt 11 3. .4 

Folds, bias bands and 1 26.-27 

Folds, crepe 1 27 

Folds, narrow stitched, milliners', (Fig. 47) 1 26. .27 

Folds, putting on several 1 27 

Folds, silk, (Fig. 49) 1 27..28 

Folds used in trimming skirts 11 3. .4 

Foot ruffle 9 3. .4 

Foundation for stock collar 27 13. .14 

Foundation of all sleeves 3 20 

Foundation or drop skirt, finishing 9 3. .6 

Four-gore skirt 10 10 

Four-piece evening cape 13 27. .28 

French hem, (Fig. 13) 1 10 

French knot in embroidery 20 15. .16 

French knots, (Fig. 14) 1 10 

French knot to simualte beads 20 16. .17 

French knot, washable, (Fig. 389) 20 16 

French seam, (Fig. 11) 1 9 

French shadow-stitch, (Fig. 510) 26 10 .12 

French shirring or gathers 1 30 

French stem-stitch, (Fig. 399) 20 23 

Frogs or pendants, (Figs. 522-523) 26 32..36 

Front fullness of shirtwaist gathered into a band, 

(Fig. 76) 4 27 

Front measure of skirt, (Fig. 56) 7 4 

Front measure of waist, (Fig. 56) 2 8 



Lesson Page 

Front of waist, draping, (Fig. 114) 5 24 

Front of yoke, draping, (Fig. 113) 5 23..24 

Front view of coat lining, ( Fig. 215) 12 25 

Fruit stains, for removal of 30 8. .9 

Fullness at back of shirtwaist, (Fig. 75) 4 26. .27 

Fullness at front of shirtwaist gathered into a band, 

(Fig. 76) 4 27 

Fullness shrunken out of coat sleeve, (Fig. 214).... 12 25 

Fur, and fur-cloth coats 13 21. .25 

Fur-cloth coats 13 22..23 

Fur, joining pieces of, (Fig. 249) 13 22 

Fur-cloth coats, adjusting collar to 13 24 

Fur-cloth coats, canvas for, (Fig. 250) 13 24 

Fur-cloth coats, collar for 13 24 

Fur-cloth coats, collar interlining of, (Fig. 251).... 13 24 

Fur-cloth coats, front and collar facings, (Fig. 252) . . 13 24..25 

Fur-cloth coats, interlining for • 13 23 

Fur-cloth coats, pocket of 13 25 

Fur-cloth imitations 13 23 

Garments for maternity wear 14 17..24 

Garnitures, (Fig. 456) 23 30..31 

Gathered kimono waist, (Fig. 112) 5 22 

Gathering for smocking, (Fig. 25) 1 18 

Gathering shirtwaist sleeve 4 30 

Gathering upper edge of hem of skirt, (Fig. 164).... 10 8..9 

Gathering without a ruffler 29 19 

Gathers at back of shirtwaist, (Fig. 75) 4 26 

Gathers at front of shirtwaist 4 27 

Gathers at front of shirtwaist of heavy material put 

into a band, (Fig. 76) 4 27 

Gathers or French shirring 1 30 

General instructions for adding flare to skirts 8 23. .25 

General rule of skirt cutting, variances to 10 24. .25 

Gibson waist, (Fig. 100) 5 11.. 15 

Gibson waist, allowance for plaits, (Fig. 102) 5 11. .14 

Gibson waist, box-plait in front of, (Fig. 103) 5 15 

Gibson waist, stitching plaits, (Fig. 101) 5 13 

Girdles 21 3..24 

Girdles, attractive finish for, (Figs. 414-416-418) 21 15..18 

Girdles, attractive narrow, (Fig. 413) 21 12. .14 

Girdles, box-plaited, (Fig. 415) 21 16..17 

Girdles, deep fitted, (Figs. 419-420) 21 19..22 

Girdles, fancy pendant for end of, (Fig. 418) 21 18. .19 

Girdles, narrow silk plaited, (Fig. 414) 21 15. .16 

Girdles, of embroidered insertion, (Fig. 421) 21 23 

Girdles, of insertion and tucks, (Fig. 422) 21 23..24 

Girdles, plaited 21 15 

Girdles, shirred 21 14 

Glossary 30 30.42 



Lesson Page 

Glove-fitting sleeve 3 20 

Gored skirt, adding flare to fifteen 8 22..23 

Gored skirt, adding flare to five 8 16. .17 

Gored skirt, adding fiare to nine 8 19 

Gored skirt, adding flare to seven 7 14. .17 

Gored skirt, eight 10 11 

Gored skirt, eight with seam in center front 10 11 

Gored skirt, eleven 10 10 

Gored skirt, fifteen 8 20..22 

Gored skirt, five, (Fig. 149) S 14. .16 

Gored skirt, four 10 10 

Gored skirt, fourteen 10 12 

Gored skirt, four with seam in center front 10 10 

Gored skirt, nine, (Fig. 150) 8 17..18 

Gored skirt, nineteen 10 10 

Gored skirt, of an even number 10 10. .13 

Gored skirt, of an uneven number 10 9. .10 

Gored skirt, one-piece circular 9 26 

Gored skirt, seven 7 5. .21 

Gored skirt, seventeen 10 10 

Gored skirt, six 10 10 

Gored skirt, six, with seam in center front 10 10. .11 

Gored skirt, sixteen 10 12 

Gored skirt, ten 10 12 

Gored skirt, thirteen 10 10 

Gored skirt, three-piece circular 9 27 

Gored skirt, twelve 10 12 

Gored skirt, twenty-one 10 10 

Gored skirt, twenty-three 10 10 

Gored skirt, two-piece circular with seam in center 

front 9 26 

Gored skirt, with circular front only 9 27 

Gores of seven-gore skirt, basting, (Fig. 139) 7 21 

Gores of seven-gore skirt, cutting 7 18. .20 

Gores of seven-gore skirt, extension of 7 12. .13 

Gores of seven-gore skirt, laying on material, 

(Fig. 138) 7 19 

Gores of seven-gore skirt, markstitching 7 20 

Gores of seven-gore skirt, notching 7 18 

Gores of seven-gore skirt, stitching 8 3 

Gores of skirt cut from plaid materials, (Fig. 173) 10 24. .26 

Gores of skirt cut from striped material, (Fig. 172).. 10 24. .26 
Gores of skirt, with four long and four short length- 
ened by plaited sections, (Fig. 189) 11 21 

Gores, skirt, with irregular side, (Figs. 192-193) 11 22. .26 

Gowns, arranging a pattern for night 17 19 

Gowns, making 17 19.-20 

Graduated circular flounce for drop skirt 9 4. .5 

Graduated circular flounce for outside skirt 10 3. .7 

Graduated trimming bands 23 19 

Graduates' accessories, (Fig. 546) 28 28. .33 



Lesson Page 
Graduates' accessories, bandeau of white satin, 

(B, Fig. 546) 28 31 

Graduates' accessories, bands of chiffon or net em- 
broidered in beads, etc 28 29 

Graduates' accesories, double bandeau, (A, Fig. 546) 28 30. .31 

Graduates' accessories, hair bows 28 29. .30 

Graduates' accessories, rosettes for slippers, 

(F, and G, Fig. 546) 28 33 

Graduates' accessories, laurel wreath set, (E, and D, 

Fig. 546) 28 31.32 

Graduates' accessories, making flowers for the 

bandeau 28 28..29 

Graduates' accessories, making laurel wreath set, 

(C, Fig. 546) 28 31..32 

Graduation dresses 19 22. .26 

Graduation dresses, materials suitable for college. ... 19 23 
Graduation dresses, materials suitable for grade 

school 19 25 

Graduation dresses, materials suitable for high 

school 19 25 

Grease spots, to remove from white goods 30 9 

Grease spots to remove from wool and silk 30 8 

Gusset for a divided skirt, (Fig. 359) 18 21 

Gusset for a man's shirt 16 16 

Gusset in a kimono waist 30 26 

H 

Habit-back skirt, finishing placket of, (Fig. 144) 8 7..8 

Hair-bows for the graduate 28 29. .30 

Haircloth, basted to canvas for a lined coat 12 19. .20 

Haircloth for a lined coat, (Fig. 205) 12 19 

Handbags 27 29..33 

Handbags, making linen 27 32 

Handbags of embroidered linen, (Fig. 530) 27 32..33 

Handbags of embroidered pongee and raffia cloth. ... 27 31 

Handbags of embroidered velvet 27 30.. 31 

Handbags of metallic gauze embroidered in metallic 

thread 27 31 

Handbags of pique, linen, tapestry, etc, etc 27 31 

Handbags of velvet 27 30 

Hand measure, (Fig. 57) 3 8 

Hats for the bride 19 20 

Hat pins 28 15 

Hem, French, (Fig. 13) 1 10 

Hem. gathering upper edge, (Fig. 164) 10 8 

Hemming bottom of skirt of heavy materials S 12. .13 

Hemming bottom of skirt of soft materials 8 13..14 

Hemming-stitch, (Fig. 6) 1 7 

Hemstitching, (Fig. 10) 1 8. .9 

Hemstitching, finishing raw edges of, (Fig. 30) 1 20 

Hemstitching on machine, (Fig. 29) 1 19 



Lesson Page 

Herringbone-Stitch, (Fig. 32) 1 21 

High or raised waistline sltirt 9 9- 13 

•High, or raised waistline skirt, adjusting belt of . . . . 9 12 

High, or raised waistline skirt, basting belt to 9 12 

High, or raised waistline skirt, boned bodice for. 

(Fig. 156) 9 13 

High, or raised waistline skirt, drafting for, 

(Fig. 153) 9 10 

High, or raised waistline skirt, making belt of, 

(Fig. 154) 9 11.12 

Hints, sewing-room 29 14. .27 

Hip line, constructing in seven-gore skirt 7 5. .6 

Hip line, proportioning in seven-gore skirt 7 4. .5 

Hip line, testing in seven-gore skirt 7 6 .7 

Hip measure, (Fig. 56 ) 7 3 

Home dressmaker, equipment for the 29 8 

Home-made dress form, constructing 29 8. .9 

Honeycomb embroidery-stitch, (Fig. 505) 26 3 .4 

Honeycomb smocking, (Fig. 28) 1 18. .19 

Hook and eye bone 4 18 

Hooks and eyes, arranging for 4 8. .9 

Hooks and eyes, marking for 4 9 

Hooks and eyes sewed on skirt band 8 11 

Hooks and eyes, sewing on 4 9 

House dress for maternity wear, (Fig. 259) 14 18 

How to advertise your services 29 30. .31 

How to apply embroidery stitches 20 27 

How to apply paint in stenciling 22 26. .27 

How to buy and shrink shirting 16 9 

How to choose thread and silk for embroidering.... 20 27.. 28 
How to cut the neckband, collar, wristbands, cuffs, 

pockets, front plait, etc., of a man's shirt 16 10 .11 

How to fit irregular or disproportionate figures 6 16. .22 

How to make a detached cuff for a man's shirt 16 19. .20 

How to make a detached cuff with tab, (Fig. 319) 16 19. .20 

How to make a negligee shirt 16 12. .17 

How to make buttonholes in a man's shirt 16 36 .IS 

How to mix oil paints for stencilling 22 20. .21 

How to pin back draft of a man's shirt on the 

material 16 10 

How to pin front draft of a man's shirt on the 

material 16 9..10 

How to pin the sleeve of a man's shirt on the 

material 16 j 

How to prepare a garment for beading 23 7. .8 

How to proceed to study 2 3 

How to select a good braiding pattern, (Fig. 428) .... 22 x.O 

How to sew a gusset in a man's shirt 16 16 

How to sew a sleeve in a man's shirt 16 15.."! 6 

How to sew a plait and fly on the front of a man's 

shirt 16 13..15 

How to sew buttons on a man's shirt 16 16. 17 



Lesson Page 

How to sew neckband on a man's shirt 16 13 

How to sew over and under lap on a man's shirt 

sleeve 16 13..14 

How to stitch back yoke on a man's shirt, (Fig. 315) 16 12. .13 

How to test oil colors before stenciling 22 22 

How to use a transfer pattern, (Fig. 367) 20 4 

How to wash infant's underwear 30 4. .5 



Illustration of waist front in beading, (Fig. 440) . . . 
Illustration of waist front in embroidery that opens 

in the back, (Fig. 405) 

Illustration of waist front in embroidery that opens 

in the front, (Fig. 406) 

Illustration of waist front in Madeira combined with 

French embroidery and lace insertion, 

(Fig. 439-F) 

Illustrations of Warren's featherbone 

Imitation strap seam, (Fig. 42) 

Importance of taking measures correctly 

Important points in embroidery buttons 

Important points in embroidery stitches 

Important points to consider in stenciling 

In-and-out pocket lap, (Fig. 229) 

In-and-out pocket lap facing, (Figs. 232-233) 

Increasing trade 

Indelible pastes used in stenciling. 

Infants 

Infants 

Infants 

Infants 

Infants 

Infants 

Infants 

Infants 

Infants 

Infants 

Infants 

Infants 

Infants 

Infants 

Infants 

Infants 

Infants 



Infants 
Infants 
Infants 
Infants 
Infants 
Infants 



band, (Fig. 275) 

Barrie-coat, (Fig. 277) 

bib 

bootees 

cap 

cape, (Fig. 283) 

comforts 

diapers 

dress, (Fig. 274) 

first outfit 

kimono, (Fig. 280-281 ) 

nightgown, (Fig. 273) 

one-piece sack, (Fig. 282) 

petticoat, (Fig. 279) 

pillow slips 

pinning-blanket, (Fig. 277) 

pinning-blanket with Gertrude body, 



(Fig. 278). 



shirt, (Fig. 276) 

slip, cutting and making 

slip, drafting back of, (Fig. 269) 

slip, drafting front of, (Fig. 268).. 
slip, drafting sleeve of (Fig. 270).. 
slip, with yoke and skirt, (Fig. 272) 



23 


6 


20 


30..31 


20 


31 


22 


31 


4 


13.14 


1 


25 


2 


7.-8 


26 


21 


20 


29..30 


22 


17..18 


13 


5 


13 


6 


29 


28..31 


22 


19 


15 


9 


15 


9 


15 


13 


15 


14 


15 


13 


15 


12..13 


15 


13..14 


15 


14 


15 


8 


15 


3.14 


15 


11..12 


15 


7.-8 


15 


12 


15 


11 


15 


14 


15 


9 


15 


10 


15 


9 


15 


6..7 


15 


5 


15 


4 


15 


5.-6 


15 


7 



Lesson Page 

Infants' waist for petticoat 15 10..11 

Ink, black, to remove 30 10 

Ink, red, to remove 30 9 

Ink, to remove 30 8 

Insertion applied above a hem in drawers, (Fig. 328) 17 16 

Insertion applied to bottom of drawers, (Fig. 327) . . 17 16 

Inside measure for a boy's trousers 17 3 

Inside sleeve measure, (Fig. 56) 3 8 

Instructions for adding flare to skirts, general 8 23. .25 

Interlining applying, to back of unlined coat, 

(Fig. 218) 12 28 

Interlining applying, to front of unlined coat, 

(Fig. 217) 12 27 

Interlining applying, to shawl collar, (Fig. 219) 12 28..29 

Interlining for lined semi-fitting coat, (Figs. 209-210) 12 23 
Interlinings of neckband, collar, wristbands, cuffs, 

front plait, etc., of a man's shirt 16 11 

Interlining for sleeve cuff on a shirtwaist 4 29. .30 

Interlining of buckram for fur-cloth coat collar .... 13 24 

Interlining of evening coat 13 11 

Introduction 1 3. .4 

Inverted box-plaits 10 17..18 

Inverted plait of seven-gore skirt 7 11..12 

Iron spots, for removal of 30 10 

Iron rust, to remove 30 7 

Irregular figures, how to fit 6 16..22 

Irregular flounce on skirt, (Fig. 186) 11 16. .18 

Irregular side gores at hip line, draft, (Fig. 194) .... 11 24. .25 

Irregular side gores below hip line, draft, (Fig. 195) 11 25. .26 

Irregular side gores of a skirt, (Figs. 192-193-196).. 11 22..29 

Irregularities in skirt drafting 10 19. .21 

J 

Jabots, (Fig. 525) 27 5..8 

Jabots, finishing ends of 27 5 

Jabots, materials suitable for 27 5 

Jabots of embroidered linen or lawn over a lace 

trimmed square of net, (B, Fig. 525) 27 7. .8 

Jabots of embroidered scalloped-edge handkerchief. . 27 7 

.Tabots of embroidered tabs, (C, N, Fig. 525) 27 8 

Jabots, of dimity or linen in polka dots, (A, Fig. 525) 27 6 

Jabots of tailored effect 27 8 

Jacket, little boys' Norfolk, ( Fig. 307) 17 12..13 

Jewelry, mourning 19 29 

Joining bias strips, (Fig. 46) 1 26 

.loining fur pieces, (Fig. 249) 13 22 

•loining thin lace 29 23 



Lesson Page 

K 

Keep goods from fraying, to 1 12 

Keep light dresses dainty, to 29 26 

Keep one's waist and skirt together at waistline, to. . 29 20 

Kimono for infant, (Figs. 280-281) 15 11..12 

Kimono for little girls, (Fig. 284) 15 16..18 

Kimono Eton coat 18 9 

Kimono waist, basting tucks in fancy, (Fig. Ill) .... 5 21 

Kimono waist, drafting a, (Fig. Ill) 30 23..26 

Kimono waist, fancy, (Fig. 108) 5 20 

Kimono waist, fancy gathered, (Fig. 112) 5 22 

Kimono waist, fancy tucked, (Fig. 110) 5 21 

Kimono waist, tucked, (Fig. 106) 5 18..19 

Kimono waist, tucked seam of, (Fig. 107) 5 19 

Kimono waist with gusset 30 26 

Kimono waist with long shoulder effect 30 26 

Kimono waist with shoulder seam 30 26. .27 

Kimono waist with underarm section 30 26 

Knee measure for a boy's trousers 17 3 

Knee trousers for boys 17 3. .10 

Knee trousers for boys, drafting baok of, (Fig. 301) . . 17 4. .6 

Knee trousers for boys, drafting front of, (Fig. 300) . . 17 3. .4 

Knee trousers for boys, finishing seams in, (Fig. 304) 17 10 

Knee trousers for boys, hip pocket in, (Fig. 302) .... 17 6. .7 

Knee trousers for boys, side pockets in, (Fig. 303) . . 17 9 

Knee trousers for boys, taking measures of 17 3 

Knickerbockers for boys 17 12 

Knots, French, (Fig. 14) 1 10 

Knots, French, in embroidery, (Fig. 389) 20 15..16 

Knots, French, to simulate beads 20 16..17 

Knots, French, washable 20 16 

Knotting end of thread 1 5 

L 

Laces, to wash 30 5. .6 

Lapped cuff, (Fig. 87) 4 31 

Lapped seams, raw edge, (Fig. 43) 1 25 

Lattice, or cat-stitch 26 4 

Laundering an embroidered waist before cutting 

it out 29 21 

Laundering stencil work 22 28 

Laying coat pattern on material, (Fig. 202) 12 18 

Laying gores of a seven-gore skirt on material, 

(Fig. 138) 7 19 

Lazy-daisy or bird's-eye embroidery stitch, 

(Fig. 387) 20 14..15 

Laxy-daisy or bird's-eye, vine medallion in (Fig. 388) 20 15 

Leg O'Mutton sleeve, (Fig. 64) 3 18. .19 

Length of back measure, (Fig. 57) 2 9 

Length of children's and girls' skirts 29 23. .24 

Length of sleeve measure, (Fig. 57) 3 8 



Lesson Pago 
Lengthening maternity skirt, arrangement for, 

(Fig. 267) 14 22..23 

I 

L 

L 

Li 

L 

L 



ned coat 12 15..26 

ned coat, applying canvas to 12 20. .21 

ned coat, applying collar to, (Fig. 208) 12 22 

ned coat, applying facing 12 22. .23 

ned coat, applying interlining, (Figs. 209-210) 12 23 

ned coat, basting and stitching sleeves of, 

(Fig. 211) 12 24 

ned coat, cambric for, (Fig. 204) 12 19 

ned coat, canvas for, (Fig. 203) 12 15..19 

ned coat, haircloth for, (Fig. 205) 12 19 

ned coat, padding 12 23..24 

ned coat, plait in back of, (Fig. 216) 12 26 

nen 25 7 

nen bag, embroidered, (Fig. 530) 27 32..33 

nen for the bride 19 21 

nen, origin of 25 7 

nen, to whiten yellow 30 10.. 11 

nen, scorched 30 11 

ngerie 25 17. .19 

ng a tailored belt 21 6. .7 

ng, applying sleeve 12 26 

ng, arranging for hooks and eyes on 4 8. .9 

ng, back view of coat, (Fig. 216) 12 26 

ng, basting material to 6 4 

ng, basting sleeve, (Fig. 65) 4 4 

ng, basting waist 4 3. .4 

ng belt of Russian blouse coat, (Fig. 247) 13 21 

ng, boning a 4 15. .18 

ng, fitting over a form 4 11 

ng, fitting the 4 5. .6 

ng, fitting the sleeve 4 7 

ng for back of coat 12 25 

ng for front of coat '. 12 25 

ng for sleeve of coat 12 26 

ng for a stock collar, boned 27 14. .15 

ng, front view of coat, (Fig. 215) 12 25 

ng of auto cap, (Fig. 357) 18 15 

ng of evening cape 13 30 

ng of evening coat 13 13 

ng of little girls' Russian blouse coat 15 22 

ng of princess dress 14 7 

ng of Russian blouse coat, (lower part) 13 21 

ng of Russian blouse coat, (upper part) 13 20 

ng, padding 4 10 

ng, padding armhole of, (Fig. 66) 4 10 

ng, second fitting of 4 9. .10 

ng, sewing on hooks and eyes 4 9 

ng, tracing the waist 3 4..6 

ttle girls' aprons 15 16 

ttle girls' Bishop dress 15 15 



Lesson Page 

Little girls' clothing 15 14. .26 

Little girls' coat, shawl collar of, (Fig. 292) 15 22 

Little girls', drafting kimono with seam down 

center back, (Fig. 285) 15 16..17 

Little girls', drafting one-piece apron for, (Fig. 286) 15 17..18 

Little girls' drafts 15 14..15 

Little girls' dress, finishing placket of 15 25 

Little girls' dress, joining waist and skirt portions 

to front and back panels, (Fig. 299) 15 26 

Little girls' dress, panel front and back, (Fig. 298) . . 15 25..26 

Little girls' dress with round yoke, (Fig. 296) 15 24 

Little girls' dress with V-shaped yoke, (Fig. 296) 15 24 

Little girls' dresses, materials suitable for 15 15 

Little girls' kimonos, (Fig. 284) 15 16..18 

Little girls' loose coat 15 22 

Little girls' loose coat, facings on, (Figs. 293-294) 15 22 

Little girls' one-piece apron, (Fig. 287) 15 18 

Little girls' plaited skirt joined to surplice waist by 

means of a belt, (Fig. 295) 15 23..24 

Little girls' rompers, (Fig. 289) 15 18..20 

Little girls' rompers, drafting pattern for, (Fig. 288) 15 18. .19 

Little girls' Russian coat, (Fig. 291) 15 21..22 

Little girls' Russian coat, materials suitable for.... 15 21 

Little girls' Russian dress, (Fig. 290) 15 20..21 

Little girls' shield for surplice dress 15 24 

Little girls' surplice dress, (Fig. 295) 15 23 

Long and short stitch, (Fig. 397) 20 21 

Long-waisted dress 14 9 

Loops, (Fig. 21) 1 16 

Low-neck waists, draping, (Fig. 115) 5 25. .26 

M 

Machine, adjusting boning attachment to, (Fig. 67) 4 16 

Machine, hemstitching on, (Fig. 29) 1 19 

Machine, sewing 29 9..12 

Machine, sewing, taking care of 29 10 

Maderia or eyelet embroidery 22 29. .31 

Making a belt for a high-waistline skirt, (Fig. 154) . . 9 11..12 
Making a boned bodice for a high-waistline skirt 

(Fig. 156) 9 13 

Making a boy's Russian suit 17 10. .12 

Making a detached cuff with tab, (Fig. 319) 16 19..20 

Making a divided skirt 18 20..22 

Making a dressing sack 14 15..16 

Making a La France rose, (Fig. 540) 28 13. .14 

Making a man's bathrobe 16 26..29 

Making a Marechal Neil rose, (Figs. 539-540) 28 14 

Making a negligee shirt 16 12..17 

Making a pattern for a fichu 27 19. .20 

Making a princess 14 8 

Making a princess with a panel front 14 9 



Lesson Page 
Making a protection neckband in a man's shirt, 

(Fig. 318) 16 17..18 

Making a Sailor blouse 6 13..15 

Making a semi-fitting princess 14 9..10 

Making a skirt with double box-plait in front and 

back, (Fig. 196) 11 27..29 

Making a skirt with four long and four short gores 

lengthened by plaited sections, (Figs. 189-191) . . 11 21..22 
Making a skirt with irregular flounce and inverted 

back plait, (Fig. 186) 11 16..18 

Making a skirt with irregular side gores at hip, 

(Fig. 194) 11 24..25 

Making a skirt with irregular side gores below hip, 

(Fig. 195) 11 26 

Making a skirt with plaits on back edges of gores.. 11 8 

Making a skirt with plaits on front edges of gores. . 11 9 

Making a skirt with small tucks at the top, (Fig. 177) 11 10 
Making a skirt with yoke and plaited flounce, 

(Fig. 183) 11 15..16 

Making a stencil 22 18..19 

Making a stencil pad 22 25..26 

Making a wrapper pattern 14 14 

Making an American Beauty rose, (Fig. 539) 28 11. .12 

Making an evening or auto cape 13 29 

Making an infant's slip 15 6. .7 

Making and applying folds on skirts 11 3. .4 

Making and knotting fringe for sash ends 27 21..23 

Making auto cap 18 15. .16 

Making balls and rosettes for ends of a sash, 

(Fig. 529) 27 5..6 

Making belt of Russian blouse coat, (Fig. 246) 13 19 

Making belts of more than one section, (Fig. 408) . . 21 7. .8 
Making buckram or cardboard foundation for 

buckles 28 17.18 

Making buds of a La France rose 28 14 

Making buds of a Marechal Neil rose, (D, Fig. 540) . . 28 14 

Making buttonholes in a man's shirt 16 16. .18 

Making canvas foundation for belts 21 4. .5 

Making center of an American Beauty rose 28 11. .12 

Making center of petals of a La France rose, (B, 

Fig. 540) 28 13..14 

Making combination suit 17 28. .30 

Making cuff for shirtwaist sleeve 4 29 

Making daisies, (Fig. 535) 28 6..7 

Making double roses 28 10. .14 

Making drawers 17 15. .17 

Making drawers for a child 17 31..32 

Making flowers for a bandeau 28 28. .29 

Making forget-me-nots 28 5. .6 

Making foundation for a sunflower rosette, (D, 

Fig. 532) 27 35. 37 

Making foundation lining for a stock collar 27 14..15 



Lesson Page 

Making laurel wreath set, (D, E, Fig. 546) 28 31..32 

Making linen handbags 27 32..33 

Making narrow crushed belts 21 11 

Making old cashmere look new 30 16.47 

Making parasols, (Pig. 541) 28 15..17 

Making petals of a Marechal Neil rose, (C, Fig. 540) 28 13..14 
Making petals of an American Beauty rose, (A, 

Fig. 540) 28 12 

Making ribbon bows, (Fig. 531) 27 33..35 

Making ribbon flowers, points in 28 3. .4 

Making rosebuds, (Fig. 538) 28 9..10 

Making rosette for a sash, (Fig. 528) 27 23..24 

Making straps for seams, (Fig. 48) 1 27 

Making tassels for a sash, (Fig. 528) 27 24 

Making the buds of a wild rose, (B, Fig. 537) 28 8 

Making the petals of a wild rose, (A, Fig. 537) 28 7. .8 

Making the wild rose, (C, Fig. 537) 28 8..9 

Making violets, (Fig. 534) 28 4. .5 

Making wild roses 28 7. .9 

Making willow plumes 30 19 

Mannish shirtwaist, (Fig. 96) 5 9. .11 

Mannish shirtwaist, applying yoke, (Fig. 98) 5 10 

Mannish shirtwaist, drafting pattern for, (Fig. I).... 30 21. .22 

Mannish shirtwaist, drafting sleeve for, (Fig. II).... 30 22. .23 

Mannish shirtwaist, finishing 5 11 

Mannish shirtwaist, sewing in sleeve, (Fig. 99) 5 10 

Mannish shirtwaist, sewing underarm and sleeve 

seams 5 11 

Man's bathrobe, (Fig. 323) 16 26..29 

Man's bathrobe, arranging draft for a, (Fig. 324) 16 26. .27 

Man's bathrobe, collar on a 16 28. .29 

Man's bathrobe, making 16 28..29 

Man's bathrobe, pocket in a 16 29 

Man's bathrobe, with box-plait in center front and 

back 16 28 

Man's night shirt, (Fig. i322) 16 23..26 

Man's night shirt, arranging pattern for 16 23. .25 

Man's night shirt with collar, (Fig. 322) 16 25 

Man's night shirt with pocket, (Fig. 322) 16 25 

Man's night shirt without collar, (Fig. 322) 16 25 

Man's shirt, applying back yoke 16 13 

Man's shirt, coat with plait extending about half- 
way, (Pig. 317) 16 15 

Man's shirt, coat with plait extending full length, 

(Fig. 316) 16 15 

Man's shirt, cutting collar, neckband, wristbands, 

cuffs, pockets, front plait, etc., etc 16 10..11 

Man's shirt, drafting a, (Pig. 308) 16 3..6 

Man's shirt, drafting a detached collar, (Fig. 320).. 16 20..21 

Man's shirt, drafting a neckband, (Pig. 310) 16 5..7 

Man's shirt, drafting a pocket for. (Figs. 312-313) 16 5 .8 



Lesson Page 
Man's shirt, drafting collar and band in one, 

(Fig. 311) 16 5..8 

Man's shirt, interlinings for neckband, collar, etc. ... 16 11 
Man's shirt, making a detached cuff with tab, 

(Fig. 319) 16 19..20 

Man's shirt, making a protection neckband, (Fig. 318) 16 17.-18 

Man's shirt, making buttonholes in 16 16..18 

Man's shirt, negligee 16 12..17 

Man's shirt, pinning back draft on material 16 10 

Man's shirt, pinning front draft on material 16 9..10 

Man's shirt, pinning sleeve on material 16 10 

Man's shirt, plaited, (Fig. 321) 16 22..23 

Man's shirt, sewing a gusset in 16 16 

Man's shirt, sewing buttons on 16 16..17 

Man's shirt, sewing in sleeve of 16 15..16 

Man's shirt, sewing neckband to 16 13 

Man's shirt, sewing over and underlap to shirt 

sleeve of a 16 13. .14 

Man's shirt, sewing plait and fly on front of a 16 13.. 15 

Man's shirt sleeve, drafting a, (Fig. 309) 16 5..7 

Man's shirt, taking measures for 16 3 

Man's shirt, with attached collar, (Fig. 314) 16 11..12 

Man's shirt, with detached cuff 16 8 

Man's shirt, with plaited bosom 16'' 6 

Man's shirt, with and without yoke in the back 16 4..6 

Marking and tucking for waist with fancy front 

and yokg^ (Figs. 90-91) 5 3..5 

Marking bias strips, (Fig. 45) 1 26 

Marking for buttonholes 1 11. .12 

Marking for coat pocket, (Fig. 224) 13 3. .4 

Marking for hooks and eyes 4 9 

Marking for smocking, (Fig. 23) 1 . 17 

Marking for tucks in shirtwaist, (Fig. 72) 4 23 

Marking for waist with double yoke and tucks, 

(Figs. 92-93) 5 5..7 

Marking for waist with tucks and insertion, 

(Figs. 94-95) 5 7..9 

Marking tucks at bottom of skirt 10 7. .8 

Marking tucks with the machine 29 25 

Markstitching gores of a seven-gore skirt 7 20 

Markstitching, or tailor's tacks, (Fig. 53) 1 28..29 

Masquerade parties, costumes for 19 14. .17 

Matching figures and plaids 14 16. .17 

Material, amount required for a suit 29 27 

Material, basting lining to 6 4 

Material, laying gores of seven-gore skirt on, 

(Fig. 138) 7 19 

Materials employed in beading 23 4.. 5 

Materials, finishing bottom of skirts in soft 8 13..14 

Materials, finishing bottom of skirt of heavy 8 12 

Materials, basting woolen 4 12 

Materials necessary for making daisies 28 6 



Lesson Pag'e 

Materials necessary for making forget-me-nots 28 5..6 

Materials necessary for making violets 28 4 

Materials, shrinking and sponging 12 3. .4 

Materials, skirts of bordered, (Fig. 174) 11 4. .5 

Materials, sponging colored 12 4 

Materials suitable for a fichu 27 20 

Materials suitable for a scarf 27 27..28 

Materials suitable for a semi-princess 14 9 

Materials suitable for a wedding gown 19 18 

Materials suitable for an auto cap 18 12 

Materials suitable for an auto cape 13 28 

Materials suitable for an auto or rain coat 18 11 

Materials suitable for an evening cape 13 28 

Materials suitable for an evening coat 13 8 

Materials suitable for litle girls' dresses 15 15 

Materials suitable for mourning wear 19 26. .28 

Materials suitable for sashes 21 24. .25 

Materials suitable for shirred skirts 9 28 

Materials suitable for the college graduation gown.. 19 23 

Materials suitable for the grade graduation gown.... 19 25 
Materials suitable for the high school graduation 

gown 19 25 

Maternity blouse or waist, (Pig. 260) 14 18..19 

Maternity corset 14 21 

Maternity empires, (Figs. 262-263-264) 14 19..21 

Maternity garments 14 17..24 

Matrnity house dress, (Fig. 259) 14 18 

Maternity shirtwaist 14 20..21 

Maternity skirt, (Figs. 265-266) 14 21..22 

Maternity skirt, arrangement for lengthening, 

(Fig. 267) 14 22..23 

Maternity coat 14 24 

Maternity underwear 14 21 

Measure, armhole, (Figs. 56-57) 2 9..12 

Measure, back, (for skirt), (Fig. 57) 7 4 

Measure blank of skirt, (Illustration) 7 26 

Measure blank of sleeve, (Illustration) 3 21 

Measure blank of waist, (Illustration) 2 25 

Measure, bust, (Figs. 56-57) 2 8 

Measure, chest, (Fig. 56) 2 9 

Measure, dart, (for skirt), (Fig. 56) 7 3 

Measure, dart, (for waist), (Fig. 56) 2 9 

Measure, depth of back, (Fig. 57) 2 9 

Measure, elbow, (Fig. 57) 3 8 

Measure, front, (Fig. 56) 2 8..9 

Measure, front (for skirt, (Fig. 56) 7 4 

Measure, hand, (Fig. 57) 3 8 

Measure, hip, (Fig. 56) 7 3 

Measure, importance of taking correct ." . . . 2 7 

Measure, inside of sleeve from armhole to wrist, 

(Fig. 56) 3 8 

Measure, length of back, (Fig. 57) 2 9 



Lesson Page 
Measure, length of sleeve from shoulder to elbow, 

(Fig. 57) 3 8 

Measure, neck, (Figs. 56-57) 2 8 

Measure, side, (for skirt), (Fig. 56) 7 4 

Measure, underarm, (Figs. 56. .57) 2 9 

Measure, waist, (Figs. 56. .57) 2 8 

Measure, width of back, (Fig. 57) 2 9 

Measure, breast for a man's shirt 16 3 

Measures, depth of back for a man's shirt 16 3 

Measure, hand, for a man's shirt 16 3 

Measure, inside arm length for a man's shirt 16 3 

Measure, inside length for a boy's' trousers 17 3 

Measure, knee for a boys' trousers 17 3 

Measure, neck, for a man's shirt 16 3 

Measures for a boys' trousers 17 3 

Measures for a man's shirt 16 3 

Measures of skirt, testing 7 6. .10 

Measures of waist, testing 3 3. .4 

Measures, taking 2 7 

Mechnical part of stenciling 22 17. .19 

Medallions, (Fig. 455) 23 29.30 

Methods of increasing trade 29 28. .29 

Methods of shirring skirts, different 9 28..29 

Milliners' folds, narrow, (Fig. 47) 1 26 

Millinery for mourning 19 29. .30 

Misapplication of lines in designing, (Figs. 460-462) 24 6. .8 

Mixture of fat, to remove 30 10 

Modifications and improvements ; . . 30 20. .29 

Molds, button ■ 1 17 

Morning dresses for the bride 19 19. .20 

Mourning 19 26..31 

Mourning jewelry 19 29 

Mourning millinery 19 29. .30 

Mourning, periods of 19 31 

Mourning worn by men 19 31 

Mourning worn by mother 19 30 

Mourning worn by widow 19 26. .29 

Mourning worn by young girl 19 30 

Mosquetaire sleeves, (Fig. 63) 3 16. .17 

Moyen-age gowns, (Fig. 496) 25 29 

Muslin underwear 17 13. .32 

Muslin underwear, a child's plain drawer pattern.. 17 32 
Muslin underwear, applying insertion in drawers,.... 

(Figs. 327-328) 17 16 

Muslin underwear, bust supporter or brassiere, 

(Fig. 333) 17 21.22 

Muslin underwear, circular drawer draft, (Fig. 33C) 17 17. .18 

Muslin underwear, corset cover without seams 17 23 

Muslin underwear, draft of brassiere, (Fig. 334) .... 17 22 
Muslin underwear, draft of combination suit joined 

at waistline, (Fig. 335) 17 23. .24 



Lesson Page 

Muslin underwear, draft of combination suit with 

top and lower portions in one piece, (Fig. 338) . . 17 26. .28 

Muslin underwear, draft of drawer band, (Fig. 329) 17 17 
Muslin underwear, draft of child's one-piece drawers, 

(Figs. 344-345) 17 30..31 

Muslin underwear, draft of yoke for underskirt, 

(Fig. 331) 17 19 

Muslin underwear, embroidery corset cover, 

(Fig. 332) 17 20.21 

Muslin underwear, facing on open drawers, (Fig. 326) 17 15 

Muslin underwear, making drawers 17 15.-17 

Muslin underwear, nightgowns 17 19. .20 

Muslin underwear, plain drawer draft, (Fig. 325) .... 17 14. .15 

MusMn underwear, tight-fitting corset cover 17 20 

Muslin underwear, underskirts 17 19 

Muslin underwear, yoke for underskirts, (Fig. 331).. 17 19 

Must, to remove 30 10 

N 

Nap, or pile 12 5 

Narrow crushed belts, making 21 11 

Narrow side-plaited girdles, (Fig. 414) 21 15. .16 

Narrow stitched Milliner's folds, ( Fig. 47) 1 26 

Neckband, basting to shirtwaist, (Fig. 79) 4 28 

Neckband, complete on shirtwaist, (Fig. 80) 4 29 

Neckband made of narrow strips of silk, (C, Fig. 525) 27 10 

Neckband made of ribbon 27 10 

Neckband made of velvet bands with ^ cluster of 

flowers embroidered in silk 27 11 

Neckband made of velvet ribbon 27 10 

Neckband of shirtwaist, basting, (Fig. 78) 4 28 

Neckband of shirtwaist, cutting a 4 28 

Neckband of shirtwaist, drafting a, (Fig. 77) 4 27..28 

Neckband, with mannish bow and fancy ends, 

(I, Fig. 525) 27 8.10 

Neck bows, (C, D, & K, Fig. 525) 27 11 

Neck bows of messaline ribbon, (J, Fig. 525) 27 12 

Neck bows of plaited velvet or silk, (C, Fig. 525) 27 12 

Neck bows of silk or velvet, (F, Fig. 525) 27 12 

Neck bows of soft liberty ribbon, (D, Fig. 525) 27 11 

Neck bows of soft ribbon, (K, Fig. 525) 27 11 

Neck measure, (Figs. 56-57) 2 8 

Neckwear 27 4.19 

Negligee shirt 16 12.. 17 

Nightgowns 17 19..20 

Nightgown for an infant, (Fig. 273) 15 7..8 

Night shirt, (Fig. 322) 16 23.. 26 

Night shirt, arranging pattern for 16 23. .25 

Night shirt, with collar, (Fig. 322) 16 25 

Night shirt, without collar, (Fig. 322) 16 25 

Night shirt, with pocket, (Fig. 322) 16 25. .26 



Lesson Page 

Xine-gore flare skirt, drafting S 19 

Nine-gore princess, making 14 8 

Nine-gore skirt, drafting, (Fig. 150) 8 17..18 

Nine-gore skirt, proportioning darts in 8 18 

Nine-gore skirt, proportioning gores at hip 8 18 

Nineteen-gore skirt 10 10 

Norfolk jacket, applying box-plaits 17 12..13 

Norfolk jacket for boys, (Fig. 207) 17 12..13 

Notching gores of seven-gore skirt 7 18 

Notching shirtwaist armhole, (Fig. 85) 4 30 

Notching shirtwaist sleeve, (Fig. 85) 4 30 

Nun's tiicks, preparing, (Fig. 165) 10 8..9 



Observation in taking skirt measures 7 13 

One-piece drawers, child's, draft of, (Figs. 344-345).. 17 30. .31 

One-piece circular skirt, (Fig. 162) 9 25..26 

One-piece evening or auto cape 13 27 

One-piece sack for an infant, (Fig. 282) 15 12 

One-piece yoke and collar, (Fig. 116) 6 4. .5 

One-piece yoke and collar, opening in back, (Fig. 117) 6 5. .6 
One-piece yoke and collar, opening on left shoulder, 

(Fig. 118) 6 6 

Open welt seam, (Fig. 38) 1 23 

Open welt seam, bound, (Fig. 39) 1 24 

Opening, adjusting pocket pieces to, (Fig. 227) 13 4 

Opening of pocket, cutting 13 4 

Opening of Bishop sleeve, (Fig. 88) 4 31 

Opening, pocket facing drawing through, (Fig. 225) . . 13 4 

Opening, overcasting edges of pocket, (Fig. 226) .... 13 4 

Order of taking measures 2 8 

Origin of cotton 25 4.7 

Origin of fashions 25 13.35 

Origin of linen 25 7 

Origin of silk . 25 3 .4 

Origin of wool 25 4 

Original skirt hanger 29 22 

Our new tailors' square, (Illustration) 2 4 

Outfit for stenciling 22 28 

Outfit for traveling 19 3..4 

Outline or stem-stitch, (Fig. 368) 20 5. .6 

Outside length for boy's trousers 17 3 

Oval eyelets, overcast, (Fig. 439-B) 22 29 

Overcast-stitch in embroidery, (Fig. 396) 20 20.21 

Overcasting-stitch, (Fig. 4) 1 6 

Overhand shirring 9 29 

Overhanding-stitch, (Fig. 5) 1 6 7 

Overlap, joining to shirtwaist sleeve, (Fig. 82) 4 29 

Overlap of a man's shirt sleeve 16 14 

Overlap of shirtwaist sleeve. (Fig. 81) 4 29 

Overskirt or tunic, (Fig. 188) 11 19. .20 



Lesson Page 
P 

Packing a trunk, art of 29 31. .33 

Pad, making of, for stenciling 22 25. .26 

Padding at armhole of lining, (Fig. 66) • 4 10 

Padding for satin-stitch, (Pig. 398) 20 22 

Padding lined coat 12 23. .24 

Padding of lining 4 10 

Padding stitches, (Fig. 206) 12 20 

Padding treadle of sewing machine 29 27 

Paint, how to apply in stenciling 22 26. .27 

Paint, how to remove 30 8..9 

Paints oil, how to mix 22 20.. 21 

Paints, standard colors in oil tube for stenciling. . 22 19. .20 

Panel front and back dress for little girl, (Fig. 298) . . 15 25. .26 

Panel front and back in skirts, (Fig. 180) 11 11 

Panel front and yoke in skirts, (Fig. 183) 11 12. .13 

Panier gowns, (Figs. 490-491) 25 24 

Pants, buttonhole band on, (Fig. 303) 17 9 

Pants, drafting back of, (Fig. 301) 17 4. .6 

Pants, drafting front of, (Fig. 300) 17 3..4 

Pants, facings on opening in front, (Fig. 302-A) 17 7. .8 

Pants, finishing seams in, (Fig. 304) 17 10 

Pants, knee length for boys, drafting of 17 3. .6 

Pants, taking measures for 17 3 

Parasols, making of 28 15. .16 

Parasols, stenciled, (Fig. 541) 28 16. .17 

Part mechanical of stenciling 28 17 

Pastes, indelible, used for stenciling 22 19 

Pattern, coat, laying on material, (Fig. 202) 12 18 

Pattern for brassiere, drafting of, (Fig. 334) 17 22 

Pattern for circular drawers, drafting of ,(Fig. 330) 17 17. .18 

Pattern for divided skirt, drafting of, (Fig. 358) 18 16. .19 

Pattern for double box-plaited skirt, drafting of, 

(Fig. 196-A) 11 27.28 

Pattern for fiifteen-gore princess, drafting of, 

(Fig. 256) 14 5..6 

Pattern for high-waistline skirt, drafting of, (Fig. 153) 9 10 
Pattern for little girl's kimono with seam down 

center back, drafting of, (Fig. 285) 15 16. .17 

Pattern for little girl's one-piece apron, drafting of, 

(Fig. 286) 15 17.18 

Pattern for lower part of Russian blouse coat, 

drafting of, (Fig. 242) 13 15 

Pattern for mannish waist, drafting of, (Pigs. I, II.) 30 21. .23 

Pattern for nine-gore princess, drafting of, (Pig. 255) 14 3. .5 

Pattern for rolled collar, cutting of 12 10 

Pattern for skirt with irregular flounce, drafting of, 

(Fig. 187) 11 16.18 

'Pattern for skirt with irregular side gores at hip 

line, drafting of, (Fig. 194) 11 24..25 



Lesson Pas'e 
Pattern for skirt with irregular side gores below 

hip line, drafting of, (Fig. 195) 11 25.26 

Pattern for skirt with small tucks at top, drafting 

of, (Fig. 178) 11 9 10 

Pattern for skirt with yoke and plaited flounce, 

drafting of, (Fig. 184) 11 13..15 

Pattern for upper part of Russian blouse coat for 

adult, drafting of, (Fig. 241) 13 13..16 

Pattern for waist illustrated in Fig. 94, (Fig. 95) 

drafting of 5 8 

Pattern for wrapper, how to make 14 14 

Pattern for rompers, drafting of, (Fig. 288) 15 18..19 

Pattern darning embroidery-stitch, (Figs. 391-392).. 20 17.18 
Patterns, fitting straight design around corners and 

curves, (Fig. 431) 22 12..13 

Patterns, how to select good ones for braiding 22 8. .9 

Patterns, simple waved in braiding, (Fig. 425) 22 4. .5 

Patterns, use of transfer, (Fig. 367) 20 4 

Pendants and frogs, braided 26 32. .36 

Pendant for ends of girdle, (Fig. 418) 21 18..19 

Peplum 9 15..16 

Peplum, circular, without darts 9 16 

Peplum, deep circular 9 16 

Peplum opening, in front 9 16 

Peplum with ripple at bottom 9 16 

Peplum, with seam at side 9 16 

Peplum with seam or opening at back 9 16 

Peplum with various shapes at bottom 9 16 

Periods of mourning 19 31 

Petals of American Beauty, making, (A, Fig. 540) 28 12..13 

Petals of La France rose, making foundation of, 

(B, Fig. 540) 28 13 

Petals of Marechal Neil rose, making, (C, Fig. 540) . . 28 14 

Petals of wild rose, making, (Figs. 536-537) 28 7..8 

Petticoat and knickerbockers, making combina- 
tion suit of, (Fig. 336) 17 25..26 

Petticoat, corset cover and knickerbockers, combina- 
tion suit of 17 25..26 

Petticoat for infant, (Fig. 279) 15 11 

Petticoat, infant's waist for 15 10. .11 

Pigments and materials suitable for stenciled coat 

sets, (Figs. 438-439) 22 23..24 

Pigments, color of, and fabrics used in different 

stencil designs 22 23..24 

Pile, or nap 12 5 

Pillow slip for Infant 15 14 

Pinking •• 29 21..22 

Pinning-blanket for infants, how to make, (Fig. 277) 15 9 

Pinning-blanket, Gertrude body for, (Fig. 278) 15 10 

Pinning the back draft of a man's shirt on material. . 16 10 

Pinning the front draft of a man's shirt on material 16 9. .10 

Pinning the sleeve draft of a man's shirt on material 16 10 



Lesson Page 

Pins, hat 28 15 

Piped bands, (Fig. 449) 23 25 

Piped, braided or embroidered belts 21 7 

Pique, linen, tapestry, etc., etc., handbags of 27 81 

Pique or linen used for tailored collar, stock and 

tie, (M, Fig. 525) 27 17.18 

Placing boning attachment on machine, (Fig. 67) .... 4 16 

Placket for little girl's dress, finishing of 15 25 

Placket of habit-back skirt, finishing of, (Fig. 144) . . 8 7..8 

Placket of skirt, finishing of 8 5. .11 

Placket of shirred skirt, finishing of 8 8 

Placket of skirt that opens at side front, (Fig. 148) . . 8 10 

Placket of tailor-made skirt, finishing of, (Fig. 143) . . 8 5..7 

Placket of wash skirt, finishing of, (Fig. 146) 8 9 

Placket with a double box-plait, finishing of, 

(Fig. 147) ■ 8 9 

Placket without a fly, finishing of, (Fig. 145) 8 8..9 

Plaids and figures, matching of 14 16. .17 

Plaid materials, cutting gores of skirt from, (Fig. 173) 10 24..26 

Plain cording 1 29 

Plain drawer pattern, drafting of, (Fig. 325) 17 14..15 

Plain drawer pattern for child, drafting of 17 32 

Plain standing collar, (H, Fig. 525) 27 13 

Plain tight-fitting waists 6 3. .4 

Plain trimming bands used on either side of a bias 

band of striped material, (Fig. 443) 23 13. .14 

Plait and fly on front of man's shirt, how to sew. ... 16 13. .15 
Plait, double-box, front and back, drafting pattern 

for, (Fig. 196-A) 11 27..28 

Plait, double-box, front and back in skirt, (Fig. 196) 11 26..29 

Plait in back of lined coat, (Fig. 216) 12 26 

Plait, inverted, of skirt 7 11-12 

Plait on coat shirt extending about halfway of 

opening, (Fig. 317) 16 15 

Plait on coat shirt extending full length of opening, 

(Fig. 316) 16 15 

Plaited belts 21 15 

Plaited bosom shirt for man, drafting of, (Fig. 308) . . 16 5..6 

Plaited, box, girdle, (Fig. 415) 21 16..17 

Plaited box skirts, finishing bottom of 10 17 

Plaited collar, drafting of as shown in (L, Fig. 525) . . 27 13 

Plaited flounce, accordion 9 6 

Plaited flounce and deep yoke in skirts, (Fig. 183).. 11 12. .16 

Plaited flounces 10 7 

Plaited girdles 21 15 

Plaited, narrow side, girdles, (Fig. 414) 21 15..16 

Plaited shirt, (Fig. 321) 16 22..23 

Plaited skirts, box, (Fig. 166) 10 13-18 

Plaited skirts, double-box 10 18..19 

Plaited skirt for little girl joined to surplice waist 

by means of a belt 15 23 

Plaited skirts, single-box 10 13..15 



Lesson Page 
Plaited skii'ts, single-box, basting and stitching ol'. . 10 15 

Plaited skirt, to launder 9 21 

Plaited skirts, triple-box 10 19 

Plaited velvet or silk neck bow, (C, Fig. 525) 27 12 

Plaits, box, set in at seams, full length and grad- 
uated distance 10 15. .17 

Plaits for Gibson waist, allowance for, (Fig. 102)... 5 11. .13 

Plaits for Gibson waist, stitching of, (Fig. 101) 5 13. .15 

Plaits in a side-plaited skirt, basting of 9 19 

Plaits in skirts, knee depth 9 21 

Plaits, inverted box 10 17..18 

Plaits on back edge of gores, (Fig. 175) 11 5. .6 

Plaits on back edge of gores, drafting and cutting. ... 11 7. .8 

Plaits on front edge of gores, (Fig. 176) 11 6 

Plaits on front edge of gores, drafting and cutting. . 11 8. .9 
Plaits or tucks in skirts between plain gores, 

(Fig. 161) 9 21.24 

Plate, position of, in continuous stencil design 22 26 

Plumes, willow, how to make 30 19 

Plush and velvet, basting of 4 12. .13 

Plush, how to renovate 30 15. 16 

Pocket facing drawing through opening, (Fig. 225).. 13 4 

Pocket facing of in-and-out lap, drawn through 

opening and basted to other facing, 

(Figs. 232-233) 13 •; 

Pocket for bathrobe 

Pocket for man's shirt, drafting of, (Figs. 312-313) 

Pocket in back of boys' pants, (Fig. 302) 

Pocket in boys' pants, facing drawn through, 

(Fig. 302) 

Pocket in boys' Russian suit, (Fig. 306) 

Pocket in fur-cloth coat 

Pocket lap, basting to coat, (Fig. 229) 

Pocket mark, stiching around, (Fig. 224) 13 

Pocket, nightshirt with, (Fig. 322) 

Pocket opening, overcasting edges of, (Fig. 226).... 

Pocket piece, basting to coat, (Fig. 231) 

Pocket piece, facing upper edge of, (Fig. 230) 

Pocket pieces of coat adjusted to opening, (Fig. 227) 
Pocket pieces of coat sewed together, (Fig. 228) .... 

Pockets in coats 

Pockets in coats, cutting opening for i; 

Pockets in coats, facing of, (Fig. 224) 

Pockets in coats, marking for, (Fig. 224) 

Pockets, neckband, collar, wristbands, cuffs, front 

plait, etc., etc., of a man's shirt, how to cut 1<; li' 11 

Pockets on side of boy's pants, opening on side, 

(Fig. 303) 17 S 

Pod of American Beauty rose, (E, Fig. 538) 28 12 

Points important to consider in stenciling 22 17.18 

Points in making ribbon bows : . . . 27 33 34 

Points in making ribbon flowers 28 3. .4 



1:J 


29 


16 


5.8 


17 


6..7 


17 


6.7 


17 


10..11 


13 


25 


13 


5..6 


13 


3.4 


16 


25.26 


13 


4 


13 


5.6 


13 


5 


13 


4 


13 


4..5 


13 


3.6 


13 


4 


13 


3. .4 


13 


3-4 



Lesson Pas'e 
Poise, lilies adapted to in reference to designing, 

(Fig. 459) .' 24 t.;..7 

Polka-dot designs used for jabots, (A, Fig. 525) .... 27 6 

Preparing a garment for beading 22 7...S 

Preparing nun's tucks, (Fig. 165) 10 8. .3 

Preparing stencil for a belt 22 25 

Preparing tapestry dyes for stenciling 22 19 

Present day styles compared with those of fifty 

and one hundred years ago 25 31. .35 

Pressing 4 12 

Pressing seams of seven-gore skirt 8 3. .4 

Pressing seams open 4 12 

Pressing tailored buttonhole 1 15 

Pressing tucks in crepe de chine 29 15 

Prevent thread from snarling, to 29 15 

Prevent work from catching in the machine, to 29 14. .15 

Preventing buttons from tearing out 29 19 

Preventing neck and armhole edges from stretching 29 20 

Preventing selvage edges from- drawing 29 20 

Preventing silks from pulling out of shape 29 15 

Princess dress 14 3. .10 

Princess dress, lining of 14 7 

Princess lining 14 7 

Princess, making a 14 8 

Princess, panel front and back 14 9 

Princess sections, tracing and cutting of 14 7 

Princess, semi-fitting, flounce on 14 10 

Princess, semi-fitting, materials suitable for 14 9 

Princess, seven-gore, draft for 14 3 

Princess slips, (Fig. 257) 14 10..13 

Princess slips of longcloth, nainsook, batiste, etc.... 14 11. .12 

Princess slips with a deep flounce 14 12 

Princess slips with a flounce fastened by buttons and 

buttonholes 14 13 

Princess style bathing suit, (Fig. 360) 19 11. .12 

Prominent abdomen and flat back, drafting skirt for. . 10 20 
Prominent abdomen, changing skirt draft for, 

(Fig. 171) 10 23..24 

Prominent hips, changing skirt draft for, (Fig. i!)9) . . 10 22. .23 
Proportional study of the model flgure in designing, 

(Fig. 463) 24 9..10 

Proportioning darts in fifteen-gore skirt 8 21 . 

Proportioning darts in five-gore skirt 8 16 

Proportioning darts in nine-gore skirt 8 18 

Proportioning darts in seven-gore skirt 7 8. .9 

T'roportioning gores at hip in fifteen-gore skirt 8 21 

Proportioning gores at hip in five-gore skirt 8 14.15 

Proprotioning gores at hip in nine-goro skirt 8 IG 

Proportioning gores at hip in seven-gore skirt 7 5. .6 

Proportions, relative, of skirt gores 7 4. .5 

Protecting forefinger of left hand 29 15 

Protecting the work table 29 16 



Lesson Page 
Protection neckband for man's shirt, how to make, 

(Fig. 318) 16 17..18 

Putting lace insertion in tub dresses 29 25 

Putting on several milliners' folds 1 27 



Quilling 23 23.24 

E 

Rain coat 18 11 

Rain coat, materials suitable for 18 11 

Raised or high-waisted skirt, (Fig. 155) 9 9. .13 

Raised or high-waistline skirt, adjusting belt to.... 9 12 

Raised or high-wastline skirt, draft of, (Fig. 153) .... 9 10 
Raised or high-waistline skirt, making a boned bodice 

for, (Fig. 156) 9 13 

Raised or high-waistline skirt, making belt for, 

(Fig. 154) 9 11..12 

Raw edge lapped seam, (Fig. 43) 1 25 

Raw edges of hemstitching, finishing, (Fig. 30). 1 20 

Relative proportions of skirt gores .• 7 4 

Remove acid, vinegar, sour wine, must, sour fruits, to 30 10 

Remove alizarine inks, to 30 9 

Remove basting thread from silks and velvets, to.... 29 21 

Remove blood and albuminoid matters, to 30 9 

Remove carbon and acetic acid, to 30 10 

Remove fruit stains, to 30 8 

Remove grease from white goods, to 30 9 

Remove grease spots from wool and silk, to 30 8 

Remove green walnut stain, to 30 10 

Remove ink, to 30 8 

Remove iron rust, to ! 30 7. .8 

Remove iron spots and black ink, to 30 10 

Remove oil colors, varnish and resins on white and 

colored goods, to 30 9 

Remove paint, to 30 8. .9 

Remove resin, to 30 9 

Remove shine from old skirts, to 29 26 

Reinove stains and spots, to 30 9. .10 

Remove stearine, to • • 30 9 

Remove tannin from chestnuts, to 30 10 

Remove tar, cart-wheel grease, mixture of fat, 

resin, to 30 10 

Remove varnish, to 30 9 

Remove vegetable colors, fruit, red wine and red 

ink, to 30 9 

Remove water spots from pongee, to 29 20 

Renovate furs, to 30 18 

Renovate plush, to 30 15. .16 

Restore color, to..,.._ 30 13 

Restore color to faded ribbon, to 30 12 



Lesson Page 

Restore finish to old goods, to 30 16 

Reverse of square 2 5 

Review of fashions from the XIII century to the 

present time 25 19. .35 

Ribbed wheel-stitch, (Fig. 515) 26 14 

Ribbon belts, (Fig. 412) 21 10..12 

Ribbon flowers, American Beauty, (Fig. 539) 28 11..12 

Ribbon flowers, American Beauty, finishing petals of, 

(F, Fig. 538) 28 12..13 

Ribbon flowers, American Beauty, calyx of, 

(D, Fig. 538) 28 12 

Ribbon flowers, American Beauty, making centers of 28 11. .12 
Ribbon flowers, American Beauty, making petals of, 

(A, Fig. 540) 28 12 

Ribbon flowers, American Beauty, pod of, 

(E, Fig. 538) 28 12 

Ribbon flowers, cutting petals of wild rose, (Fig. 536) 28 7 

Ribbon flowers, daisies, (Fig. 535) 28 6 

Ribbon flowers, detail of making daisy, (Fig. 535) .... 28 6. .7 

Ribbon flowers, detail of making forget-me-nots.... 28 6 
Ribbon flowers, detail of making rosette of rosehuds, 

(Fig. 538) 28 9..10 

Ribbon flowers, detail of making violets, (Fig. 534) . . 28 4. .5 

Ribbon flowers, double roses, (Fig. 539) 28 10..15 

Ribbon flowers, forget-me-nots 28 5. .6 

Ribbon flowers, La France rose 28 13. .14 

Ribbon flowers. La France rose, making buds of . . . . 28 14 
Ribbon flowers. La France rose, making center of, 

(B, Fig. 540) 28 13 

Ribbon flowers, making buds of wild roses, (B, 

Fig. 537) 28 8 

Ribbon flowers, makyig petals of wild roses, (A, 

Fig. 537) > 28 7..8 

Ribbon flowers, making the rose part of wild roses, 

(C, Fig. 537) 28 8..9 

Ribbon flowers, Marechal Neil rose, (Fig. 539) 28 14..15 

Ribbon flowers, Marechal Neil rose, making buds of.. 28 14 
Ribbon flowers, Marechal Neil rose, making petals 

of, (C, Fig. 540) 28 14 

Ribbon flowers, materials necessary for forget-me- 
nots 28 5.-6 

Ribbon flowers, materials necessary for rosette of 

rosebuds 28 9 

Ribbon flowers, materials necessary for violets 28 4 

Ribbon flowers, points in making 28 3. .4 

'Ribbon flowers, rosette of rosebuds 28 9. .10 

Ribbon flowers, violet, (Fig. 534) 28 4..5 

Ribbon flowers, wild roses 28 7..9 

Ribbon neckband 27 10 

Rip a long seam, to • • 29 18 

Ripping featherbone 4 18 

Rolled turn-over collar and Inpels, drafting, (Fig. 198) 12 8. .9 



Lesson Page 

Rolled turn-over collar, facing 12 22..23 

Rolled turn-over collar of a boy's Norfolk jacket 17 12. .13 

Rolled turn-over collar, sewing to coat, IFig. 208) . . 12 22 
Rolled turn-over collor, stitching stand part, 

(Fig. 207) 12 21 

Rompers, (Fig. 289) 15 18..20 

Rompers, drafting pattern of, (Fig. 288) 15 18..19 

Rompers, making 15 20 

Rope silk and soutache braid on ribbon for a 

triming band, (Fig. 453) 23 27..29 

Rope silk and tinsel braid on net for a trimming 

band, (Fig. 453) 23 27..29 

Rope-stitch, (Fig. 26) 1 18 

Rosebud rosette, making a 28 9. .10 

Rosebud, making, for a double rosette, (E. Fig. 545) 28 27 
Rosette, double, of white chiffon for the bride, 

(E. Pig. 545) '. 28 27 

Rosette of lace for the bride, (C, Fig. 545) 28 26 

Rosette of rosebuds 28 9..10 

Rosette of rosebuds, detail of making, (A, B, and C. 

(Fig. 538) 28 10 

Rosette, scalloped, (Fig. 533) 27 37 

Rosette, scalloped, detail of making, (Fig. 533) 27 37. .38 

Rosette, sunflower, (A. Pig. 532) 27 35. 36 

Rosette, sunflower, making foundation for, (D, 

Fig. 532) 27 36 

Rosette, sunflower, making leaves for, (C, Fig. 532) . . 27 36 

Rosette, sunflower, making petals for, (B, Fig. 532) . . 27 36-37 

Rosettes for slippers, (P, & G, Pig. 546) 28 33 

Romanian-stitch, (Fig. 519) 26 17. .18 

Round yoke for a little girl's dress, (Fig. 296) 15 24 

Rounded end buttonhole, (Pig. 15) 1 13 

Ruchings 1 31 

Ruchings, single 1 31 

Ruchings, three-tuck 1 31 

Ruffle, foot, making for a drop skirt 9 3. .4 

Ruffle on drawers, (Fig. 342) 17 29.. 30 

Rule of skirt cutting, variances to the general 10 24. .25 

Rules 1 4..5 

Rules to observe in cutting a plaited skirt 9 17. .18 

Russian blouse coat 13 13..21 

Russian blouse coat, applying flat collar to 13 20 

Russian blouse coat, basted to belt 13 19 

Russian blouse coat, basting skirt portions to 

belt, (Fig. 247) 13 20..21 

Russian blouse coat, canvas for, (Fig. 245) 13 18 

Russian blouse coat, closing on left front, (Fig. 248) 13 21 
Russian blouse coat, drafting fitted belt for, 

(Fig. 243) 13 17 

Russian blouse coat, drafting pattern for lower 

. part of, (Fig. 242) 13 15..16 



Lesson Page 
Russian blouse coat, drafting pattern for upper part 

of, (Fig. 241) 13 13..16 

Russian blouse coat, finishing neck and front edges of 13 19..20 

Russian blouse coat, fitting 13 19 

Russian blouse coat for little girl, (Fig. 291) 15 21..22 

Russian blouse coat for little girl, lining of 15 22 

Russian blouse coat for little girl, materials suit- 
able for 15 18 

Russian blouse coat, interlining for 13 18 

Russian blouse coat, lining belt of, (Fig. 247) 13 21 

Russian blouse coat, lining skirt portions of 13 21 

Russian blouse coat, making 13 18. .21 

Russian blouse coat, making and attaching lining to 13 20 

Russian blouse coat, making fitted belt, (Fig. 246) .... 13 19 

Russian blouse coat, vest of 13 21 

Russian blouse coat with high neck, (Fig. 248) 13 21 

Russian blouse coat with V-shaped neck, (Fig. 244) . . 13 17. .18 

Russian dress for little girl, (Fig. 290) 15 20..21 

Russian dress for little girl, making 15 20. .21 

Russian suit for boys, (Fig. 305) 17 10..12 

Russian suit for boys, making 17 10..12 

Russian suit for boys, pocket of, (Fig. 306) 17 10..11 



Sack coat 18 10..11 

Sack coat, drafting a, (Fig. 354) 18 10..11 

Sack for an infant, (Fig. 282) 15 12 

Sacks, dressing 14 15. .16 

Sailor and Dutch collars, (Fig. 123) 6 12 

Sailor blouse bathing suit, (Fig. 361) 19 12 

Sailor blouse, chemisette for 6 14. .15 

Sailor blouse, shield for 6 14. .15 

Sailor blouses, (Fig. 124) 6 12..15 

Sailor blouses, making 6 13..14 

Sailor collar, cutting and making, (Fig. 125) 6 13..14 

Sailor collar on Eton coat, construction of 18 5..7 

Sailor collar on Eton coat, drafting a, (Fig. 346).... 18 3. .5 

Sailor collar on Eton coat, tracing 18 5 

Sailor collar on Eton coat, upper facings of, 

(Figs. 347-348) 18 7 

Sample of dressmaking advertisements 29 31 

Satin-stitch, (Fig. 398) 20 21..23 

Satin-stitch, padding for, (Fig. 398) 20 22 

Sashes, (Fig. 432) 21 24..29 

Sashes 27 20..26 

Sashes, appropriate for different forms, (Fig. 423) .... 21 25 

Sashes, finishing for lower ends of 21 26..28 

Sashes, for children 21 28..29 

Sashes, making a crocheted end with knotted fringe 

for, (Fig. 527) 27 21..22 

Sashes, making a crocheted end for, (Fig. 528) 27 23. .24 



Lesson Page 

Sashes, making balls for ends of, (Fig. 529) 27 25 

Sashes, making crochet ends and tassels for a, 

(Fig. 528) 27 23..24 

Sashes, making ends of balls of soutache braid and 

rosette for girdle, of ribbon, (Fig. 529) 27 25-26 

Sashes, making rosette of plaited ribbon, (Fig. 528) . . 27 23..24 
Sashes, making tassel of soutache braid and silk 

crochet, (Fig. 424) 21 26..28 

Sashes^ material required 21 28 

Sashes, materials suitable for 21 24. .25 

Sashes, use of beading and embroidery on ends of, 

(Fig. 527) 27 21.22 

Save time when stitching tucks, to 29 16 

Scalloped rosette, (Fig. 533) 27 37..38 

Scarfs 27 26. .29 

Scarfs, appropriate ends for 27 29 

Scarfs, dimensions of 27 27 

Scarfs, interlining of 27 29 

Scarfs, lining of 27 27 

Scarfs, materials suitable for 27 27. .28 

Scarfs of velvet and fur 27 28..29 

Scorched linen 30 11 

Seam, boning back underarm 4 17 

Seam, boning center back 4 17 

Seam, boning outside back 4 17 

Seam, boning underarm, (Fig. 69) 4 17 

Seam, bound open welt, (Fig. 39) 1 24 

Seam, broad, stitched, (Fig. 35) 1 22 

Seam, cord, (Fig. 44) 1 25 

Seam, double-stitched 1 22 

Seam, double- stitched slot, (Fig. 40) 1 24 

Seam, double-stitched welt, (Fig. 37) 1 23 

Seam, fell, (Fig. 12) 1 10 

Seam, French, (Fig. 11) 1 9 

Seam, imitation strap, (Fig. 42) 1 25 

Seam, making straps for. (Fig. 48) 1 27. 

Seam, open welt, (Fig. 38) 1 23 

-Seam, raw edge lapped, (Fig. 43) 1 25 

■Seam, single-stitched, (Fig. 34) 1 22 

Seam, single-stitched slot 1 24 

Seam, slot • • 1 24 

Seam, strap, (Fig. 41) 1 24. .25 

Seam, welt, (Fig. 36) 1 23 

Seams, allowance for in a seven-gore skirt 7 19. .20 

Seams, boning, of a lining 4 15. .18 

Seams, fininshing in a fancy collar, (Fig. 234) 13 7 

Seams, finishing in a seven-gore skirt, (Figs. 140-141) 8 4.5 

Seams of a man's bathrobe, bound 16 28 

Seams, of a princess, joining 14 8 

Seams, of a princess slip, joining 14 12. .13 

Seams, pressing, in a seven-gore skirt 8 4 

Seams, pressing open 4 12 



Lesson Page 

Seams, stitching and finishing, of lining 4 8 

Seaside, appropriate wardrobe for the 19 10. .14 

Second fitting of lining 4 9. .10 

Sections of a princess slip, joining the 14 12. .13 

Sections of princess, tracing and cutting 14 7 

Sections of Sailor collar, tracing 18 5 

Seed or dot-stitch, (Fig. 386) 20 14 

Semi-fitting coat, (Fig. 197) 12 5.11 

Semi-fitting coat, attaching cuffs to sleeves of, 

(Fig. 213) 12 2.? 

Semi-fitting coat, basting and stitching sleeves of . . . . 12 24 

Semi-fitting coat, cutting lining for 12 25 

Semi-fitting coat, drafting a, (Fig. 198) 12 5. .11 

Semi-fitting coat for maternity wear 14 24 

Semi-fitting coat, making cuffs for sleeves of, 

(Fig. 212), 12 24..25 

Semi-fitting coat, shrinking fullness out of top of 

sleeve, (Fig. 214) 12 25 

Semi-fitting coat, tracing and cutting sections 12 10. .11 

Semi-fitting princess 14 9 

Semi-fitting princess, flounce of 14 10 

Set colors in cotton materials, to 30 13 

Seven-gore princess, draft of ^^ 14 3 

Seven-gore skirt, adding flare to a 7 15. .17 

Seven-gore skirt, adjusting band on a 8 10 

Seven-gore skirt, allowance for seams of a 7 19. .20 

Seven-gore skirt, basting the gores of a, (Fig. 139) . . 7 21 

Seven-gore skirt, constructing waistline of 7 7.-8 

Seven-gore skirt, cutting draft of a 7 18 

Seven- gore skirt, drafting top of a 7 5. .12 

Seven-gore skirt, drawing dart lines of 7 10. .11 

Seven-gore skirt, extension of gores of a 7 12. .13 

Seven-gore skirt, finishing placket of a 8 5. .11 

Seven-gore skirt, finishing seams in a, (Figs. liO-141) 8 4.5 

Seven-gore skirt, finishing the bottom of a S 11. .14 

Seven-gore skirt, fitting 7 21.. 25 

'Seven-gore skirt, inverted plait of a 7 11. .12 

Seven-gore skirt, laying draft on material, (Fig. 138) 7 19 

Seven-gore skirt, markstitching gores of a 7 20 

Seven-gore skirt, notching gores of a 7 18 

Seven-gore skirt, pressing seams of a 8 4 

Seven-gore skirt, proportioning gores at the hip of.. 7 4. .5 

Seven-gore skirt, second fitting of a 7 24. .25 

Seven- gore skirt, stitching gores of a 8 3 

Seven-gore skirt, testing hip line of 7 6. .7 

Seven-gore skirt, testing waistline of a 7 10 

Seven-gore skirt, tracing draft of a 7 18 

Seventeen-gore skirt 10 10 

Sew harsh goods easily, to 29 15 

Sewed bow, (Fig. 531) 27 34. .35 

Sewing dress shields in a kimono waist 29 26. .27 

Sewing hooks and eyes on shirtband or belt 8 11 



Lesson I'ase 

Sewing in mannish shirtwaist sleeve, (Fig. 99) 5 10 

Sewing in shirtwaist sleeve, (Fig. 86) 4 30 

Sewing on beads 23 9. .10 

Sewing on buttons, (Fig. 22) 1 16 

Sewing on buttons that have no shank 29 22 

Sewing on hooks and eyes 4 9 

Sewing Machines 29 9. .12 

Sewing room hints 29 14. .27 

Sewing stitches 1 5. .7 

Shadow embroidery and darning combined with 

beading for a trimming band, (Fig. 452) 23 26. .28 

Shadow-stitch, (Fig. 507 ) 26 7. .8 

Shadow-stitch, applique, (Fig. 508) 26 8.9 

Shadow-stitch, applique, finishing edges of, 

(Fig. 509) 26 9. .10 

Shadow-stitch, choosing colors for 26 5. .6 

Shadow-stitch, detail of, (Fig. 507) 26 7. .8 

Shadow-stitch, French, (Fig. 510) 26 10.12 

Shadow-stitch, stamping for 26 6. .7 

Shadow-stitch, where applied 26 5 

Sharpen needles, to 29 23 

Shawl collar 12 28..29 

Shawl collar applied on little girl's coat, (Fig. 292).. 15 22 

Shawl collar, applied to unlined coat, (Fig. 221) 12 29 

Shawl collar, applying interlining to, (Fig. 219) 12 29 

Shawl collar on Eton coat, drafting a, (Fig. 351) 18 9 

Shawl collar, stitching stand part of, (Fig. 220) 12 29 

Sheaf-stitch, (Fig. 31) 1 20. .21 

Sheet wadding applied to semi-fitting coat, 

(Figs. 209-210) 12 23 

Shield for Sailor blouse 6 14. .15 

Shine, on old skirts, to remove 29 26 

Shirred belts 21 14 

Shirred buckles, (Fig. 542) 28 18. .19 

Shirred cording, (Fig. 54) 1 29 

Shirred ('ounces 10 7 

Shirred girdles 21 14 

Shirred skirts 9 28. .30 

Shirred skirt, finishing placket of 8 8 

Shirred trimming bands, (Fig. 448) 23 25..26 

Shirring, flat, (Fig. 163 ) 9 29 

Shirring or smocking band applied to skirt, (Fig. 11) 11 11. .12 

Shirring, overhand 9 29 

Shirring skirts, different methods of 9 28. .29 

Shirring soft thin materials 9 30 

Shirrings 1 30 

Shirrings, French ■ ■ . 1 30 

Shirrings, tucked. (Fig. 55) 1 30 

Shirt,- buying material 16 9 

Shirt, coat, (Fig. 316) 16 15 

Shirt, coat, making 16 15. .16 



Lesson Page 
Shirt, cutting interlining for neckband, collar, cuffs, 

pockets, plaits, fly, etc. for a man's IG 11 

Shirt, cutting plait and fly for a man's 16 11 

Shirt, draft arranged to cut a bathrobe, (Fig. 324) 16 26 

Shirt, drafting a collar and band in one for a man's 

(Fig. 311) 16 7.-8 

Shirt, drafting a detached collar for a man's, 

(Fig. 320) 16 20.-22 

Shirt, drafting a man's, (Fig. 308) 16 3..6 

Shirt, drafting a neckband for a man's, (Fig. 310) .... 16 5..7 

Shirt, drafting pocket for a man' (Figs. 312-313) 16 5..8 

Shirt, drafting a sleeve for a man's,. (Fig. 309) 16 5. .6 

Shirt, finishing a man's 16 15 

Shirt for an infant, (Fig. 276) 15 9 

Shirt, inserting a gusset in a man's 16 16 

Shirt, making a detached collar 16 20 

Shirt, making a detached cuff and tab, (Fig. 319) 16 19..20 

Shirt, making a man's 16 12. .19 

Shirt, making a protective neckband on a man's, 

(Fig. 318) 16 17..18 

Shirt, making attached collar for a man's 16 11..12 

Shirt, making buttonholes in a man's 16 16. .19 

Shirt measure, breast 16 3 

Shirt measure, depth of back 16 3 

Shirt measure, hand 16 3 

Shirt measure, inside arm length 16 3 

Shirt measure, neck 16 3 

Shirt measure, shoulder 16 3 

Shirt measures 16 3 

Shirt, night, (Fig. 322) 16 25 

Shirt, night, arranging shirt draft to cut a 16 23..25 

Shirt, night, with collar, (Fig. 322) 16 25 

Shirt, night, without collar, (Fig. 322) 16 25 

Shirt, night, with pocket, (Fig. 322) 16 25..26 

Shirt, pinning back draft on material 16 10 

Shirt, pinning front draft on material 16 9. .10 

Shirt, pinning neckband, collar, wristbands, cuffs, 

pockets, etc., on material 16 10 

Shirt, pinning sleeve draft on material 16 10 

Shirt, plaited, (Fig. 321) 16 22..23 

Shirt, serving buttons on a man's 16 16. .18 

Shirt, shrinking material 16 9 

Shirt, sleeve, arranging to cut a night 16 24. .25 

Shirt, taking measures for a man's 16 3 

Shirt, with and without a yoke in the back 16 4..6 

Shirt, with attached collar, (Fig. 314) 16 11..12 

Shirt, with fullness in back at yoke line, (Fig. 315).. 16 13 

Shirt, with opening extending full length 16 15 

Shirt, with plait extending about half-way of o])en- 

ing, (Fig. 317) 16 15 

Shirt with plaited bosom, drafting, (Fig. 308) 16 6 

Shirtwaist, adjusting gathers at back of, (Fig. 74) . . 4 26 



Lesson Pase 

Shirtwaist, adjusting gathers in front of 4 27 

Shirtwaist, basting neckband of a, (Fig. 78) 4 28 

Shirtwaist, basting neckband to a, (Fig. 79) 4 28 

Shirtwaist, cutting neckband for a 4 28 

Shirtwaist, drafting a, (Fig. 71) 4 20..22 

Shirtwaist, drafting neckband for a, (Fig. 77) 4 27..28 

Shirtwaist, fitting a 4 25. .20 

Shirtwaist, front fullness of heavy material gathered 

into a band, (Fig. 76) 4 27 

Shirtwaist, mannish, (Fig. 96) 5 9..11 

Shirtwaist, mannish, applying yoke to, (Fig. 98).... 5 10 

Shirtwaist, mannish, drafting pattern of, (Fig. I) . . . . 30 21. .22 

Shirtwaist, mannish, drafting sleeve of, (Fig. II).... 30 22. .23 

Shirtwaist, mannish, sewing in sleeve, (Fig. 99).... 5 10 

Shirtwaist, marking for tucks in, (Fig. 72) 4 23 

Shirtwaist, maternity 14 20. .21 

Shirtwaist, notching armhole of, (Fig. 85) 4 30 

Shirtwaist sleeve, (Fig. 61) 3 12..14 

Shirtwaist sleeve, attaching cuff to 4 29. .30 

Shirtwaist sleeve cuff, (Figs. 83-84) 4 29..30 

Shirtwaist sleeve, gathering 4 30 

Shirtwaist sleeve, making cuffs for a 4 29 

Shirtwaist sleeve, notching, (Fig. 85) 4 30 

Shirtwaist sleeve, overlap for a, (Fig. 81) 4 29 

Shirtwaist sleeve, sewing in, (Fig. 86) 4 30.. 31 

Shirtwaist sleeve, underlap for a, (Fig. 81) 4 29 

Shirtwaist, tucks in back of, (Fig. 74) 4 25 

Shirtwaist, tucks in front of, (Fig. 73) 4 22. .24 

Shrinking 4 12 

Shrinking and sponging woolen materials 12 3. .4 

Shrinking fullness out of coat sleeve, (Fig. 214) .... 12 25 

Side measure of skirt, (Fig. 56) 7 4 

Side plaited girdles, narrow, (Fig. 414) 21 15. .16 

Side plaited skirt, allowance for plaits 9 18 

Side plaited skirt, drafting and making, (Fig. 160) . . 9 16. .21 

Side plaited skirt, finishing bottom of 9 20 

Side plaited skirt, finishing top of 9 20 

Side plaited skirt, rules to observe in cutting 9 17. .18 

Side plaited skirt with an equal space between the 

plaits 9 17 

Side plaited skirt, with few seams 9 18 

Side pockets in boys' knee trousers that open in 

front, (Fig. 302-A) 17 8 

Side pockets in boy's knee trousers that open on 

the sides, (Fig. 303) 17 9 

Silk folds, (Fig. 49) 1 27 

Silk, to test 29 24 

Silver and gilt ornaments, to clean 30 19 

Simulated buttonholes 26 28..32 

Simulated buttonholes in flat braid, (Fig. 522) 26 28..30 

Simulated buttonholes in pairs 26 31. .32 

Simulated buttonholes, in soutache braid, (Fig. 522) 26 32 

\ 



Lesson Pag'e 

Single box-plaited skirts 10 13. .18 

Single ruching 1 31 

Single-stitched seam, (Fig. 34 ) 1 22 

Single-stitched slot seam 1 24 

Six-gored skirt 10 10..11 

Six-gored skirt, drafting pattern with seam down 

center front and center back 10 11. .12 

Skirt, accordion-plaited flounce for a drop 9 6 

Skirt, adding flare to a seven-gore 7 15. .17 

Skirt, adjusting belt on a seven-gore S 10 

Skirt, adjusting mohair braid to bottom of 8 12. .18 

Skirt, allowance for plaits in a side plaited 9 18 

Skirt, allowance for seams of a seven-gore 7 19. .20 

Skirt, applying a simulated band of shirring or 

smocking, (Fig. 181) 11 11, .12 

Skirt, applying band at knee depth, (Fig. 180) 11 11 

Skirt, applying brush braid to the bottom of a 

walking 9 7. .9 

Skirt, applying deep band to bottom of, (Fig. 179) . . 11 10. .11 
Skirt, applying mohair braid to the bottom of a 

walking 9 8 

Skirt, applying narrow band to bottom of, (Fig. 180) 11 11 

Skirt, a side plaited 9 16..21 

Skirt, band or belt, sewing hooks and eyes on 8 11 

Skirt, basting plaits in a side-plaited 9 19 

Skirt, basting the gores of a, (Fig. 139) 7 21 

Skirt, constructing waistline of a five-gore 8 15 

Skirt, constructing waistline of a seven-gore 7 7. .8 

Skirt, cutting draft of seven gore 7 18 

Skirt, cutting gores from plaid material, (Fig. 173).. 10 24. .26 
Skirt, cutting gores from striped material, 

(Fig. 172) 10 24..26 

Skirt cutting, variances to the general rule 10 .?4..25 

Skirt, divided equestrian 18 16. .22 

Skirt, divided equestrian, cutting and making 18 19.22 

Skirt, divided equestrian, drafting a, (Fig. 358) 18 16. .19 

Skirt, divided equestrian, drafting a gusset for, 

(Fig. 359) 18 21 

Skirt, divided equestrian, facing front opening 18 20. .21 

Skirt, divided equestrian, finishing a 18 21. .22 

Skirt, divided equestrian, inserting a gusset in 18 21 

Skirt, drafting a fifteen- gore 8 20. .23 

Skirt, drafting a fifteen-gore flare 8 22. .23 

Skirt, drafting a four-gore with seam in center 

front and center back 10 10 

Skirt, drafting a four-gore without seam in center 

front and center back 10 10 

Skirt, drafting an eight-gore with seam in center 

front and center back 10 11 

Skirt, drafting an eight-gore without seam in center 

front and center back 10 11 

Skirt, drafting a nine-gore flare 8 19. .20 



Sk 

Sk 

Sk 

Sk 

Sk 

Sk 
Sk 
Sk 
Sk 
Sk 
Sk 
Sk 
Sk 
Sk 
Sk 
Sk 

Sk 
Sk 
Sk 
Sk 
Sk 
Sk 
Sk 
Sk 
Sk 
Sk 
Sk 
Sk 
Sk 
Sk 
Sk 
Sk 
Sk 
Sk 
Sk 

Sk 
Sk 
Sk 
Sk 
Sk 
Sk 
Sk 
Sk 
Sk 
Sk 
Sk 



Lesson Pase 

rt, drafting a pattern for a graduated flounce.... 10 3. .5 
rt, drafting a six-gore with seam in center front 

and center back 10 10. .11 

rt, drafting a six-gore without seam in center 

front and center back 10 10. .11 

rt, drafting a, with an even number of gores 
with a seam in center back and center front.... 10 11. .12 
rt, drafting a, with an even number of gores with- 
out a seam in center front and center back 10 12 

rt, drawing dart lines of a seven-gore 7 10. .11 

rt, drafting five-gore flare 8 1G..17 

rt drafting, for flat abdomen 10 20 

rt drafting, for prominent abdomen and flat back 10 20 

rt drafting, for shorter back length than front.. 10 20 

rt drafting, irregularities in 10 19. .21 

rt, drafting nine-gore 8 17. .18 

rt, drafting top of a seven-gore 7 5. .12 

rt, drafting, when one hip is larger than the other 10 21 

rt drafts, changing for different figures 10 21. .24 

rt drafts, changing for prominent abdomen, 

(Fig. 171) 10 23. .24 

rt drafts, changing for prominent hips, (Fig. 169) 10 22..23 

rt drafts, changing for round abdomen, (Fig. 170) 10 23 

rt drafts, changing when too long, (Fig. 167) 10 22 

rt drafts, changing when too short, (Fig. 168) . . 10 22 

rt, eight-gore 10 12 

rt, eleven-gore 10 10 

rt, extension of gores in a seven-gore 7 12. .13 

rt, facing bottom of 8 13 

rt, finishing a drop or foundation 9 3. .6 

rt, finishing bottom of a circular 9 27 

rt, finishing bottom of a 8 11. .14 

rt, finishing bottom of a walking, (Fig. 152) 9 7. .9 

rt, finishing placket of a habit-back, (Fig. 144).. 8 7. .8 

rt, finishing placket of a 8 5. .11 

rt, finishing placket of a shirred 8 8 

rt, finishing placket of a silk 8 7 

rt, finishing placket of a tailormade, (Fig. 143) . . 8 5. .7 

rt, finishing placket of a wash, (Fig. 146) 8 9 

rt, finishing placket of one that opens at left side 

front, (Fig. 148) 8 10 

rt, finishing seams of a, (Figs. 140-141) 8 4. .5 

rt, finishing top of flounce for outside 10 6. .7 

rt, fitting a 7 21..2.5 

rt, foot ruffle on bottom of a drop 9 3. .4 

rt, four-gore 10 10 

rt, fourteen-gore 10 12 

rt, gathering upper edge of hem of, (Fig. 164) ... 10 8 

rt, graduated flounce for a drop 9 4. .5 

rt, graduated flounce for outside 10 3. .7 

rt, hemming bottom of a 8 12. .14 

rt, hemming bottom of heavy material 8 12 



Lesson Page 

Skirt, high or raised waistline, (Pig. 155) 9 9..13 

Skirt, high or raised waistline, adjusting belt to.... 9 12 
Skirt, high or raised waistline, drafting pattern for, 

(Fig. 153) 9 10 

Skirt, high or raised waistline, making a boned 

bodice for, (Fig. 156) 9 13 

Skirt, high or raised waistline, making belt for, 

(Fig. 154) 9 11..12 

Skirt, inverted plait in a seven-gore 7 11..12 

Skirt, laying gores of a seven-gore on the material, 

(Fig. 138) 7 19 

Skirt, making a circular 9 27..28 

Skirt, making flounce and adjusting to 10 6..7 

Skirt, markstitching gores of a seven-gore 7 20 

Skirt, marking tucks at bottom of 10 7-8 

Skirt, maternity 14 21..23 

Skirt, maternity, arrangement for lengthening, 

(Fig. 267) 14 22..23 

Skirt, maternity, making 14 22. .23 

Skirt with irregular plaited flounce, yoke and in- 
verted plait, (Fig. 186) 11 16 

Skirt, maternity, with plaits, and inverted plait in 

the back, (Fig. 266) 14 22 

Skirt, maternity, with plaits in front, (Fig. 265) 14 21..22 

Skirt measures, (Figs. 56-57) 7 3 

Skirt measure, back, (Fig. 57) 7 4 

Skirt, measure blank of a 7 26 

Skirt measure, dart, (Fig. 56) 7 3 

Skirt measure, front, (Fig. 56) 7 4 

Skirt measure, hip, (Fig. 56) 7 3 

Skirt measure, side, (Fig. 56) 7 4 

Skirt, nineteen-gore 10 10 

Skirt, notching gores of a seven-gore 7 18 

Skirt, of a little girl's panel dress, making, (Fig. 299) 15 25 

Skirt, of a little girl's surplice dress, making 15 23. .24 

Skirt, of an infant's slip, draft of, (Fig. 272) 15 7. .8 

Skirt, one-piece circular, (Fig. 162) 9 25. .26 

Skirt, placket finished without a fly, (Fig. 145) 8 8. .9 

Skirt, placket with an attached double box-plait, 

(Fig. 147) , 8 9 

Skirt, placket with strapped seams 8 9..10 

Skirt portion of a dressing sack 14 15 

Skirt portion of Russian blouse coat, basted to belt, 

(Fig. 247) 13 21 

Skirt portion of Russian blouse coat, lining of 13 21 

Skirt portion of Russian blouse coat, making 13 20 

Skirt portion of Russian blouse coat with side 

seams, (Fig. 242) 13 15..16 

Skirt, preparing nun's tucks on a, (Fig. 165) 10 8..9 

Skirt, pressing seams of a seven-gore 8 4 

Skirt, proportioning darts in a nine-gore 8 18 

Skirt, proportioning darts in a seven-gore 7 8..9 



Lesson Payc 

Skirt, proportioning darts of a fifteen-gore 8 21 

Skirt, proportioning darts of a five gore 8 16 

Skirt, proportioning gores at hip of a fifteen-gore. ... 8 21 

Skirt, proportioning gores at hip of a five-gore 8 14. .15 

Skirt, proportioning gores at liip of a nine-gore 8 18 

Skirt, rules to observe in cutting a plaited 9 17. .18 

Skirt, second fitting of a seven-gore 7 24. .25 

Skirt, seventeen-gore 10 10 

Skirt, six-gore 10 10..11 

Skirt, sixteen-gore ■ • 10 12 

Skirt, stitching the gores of a seven-gore 8 3 

Skirt, ten-gore 10 12 

Skirt, testing hip-line of a seven-gore 7 6. .7 

Skirt, testing waistline in a seven-gore 7 10 

Skirt, thirteen-gore 10 10 

Skirt, three-piece circular 9 27 

Skirt, tracing draft of a seven-gore 7 18 

Skirt, tucks at bottom of 10 7. .9 

Skirt, twelve-gore 10 12 

Skirt, twenty-one-gore 10 10 

Skirt, twenty-three-gore 10 10 

Skirt, two-piece circular 9 26 

Skirt, with circular front only 9 27 

Skirt with deep flounce at bottom and tucks at 

top, (Fig. 182). 11 12 

Skirt with double-box-plait in front and back, 

(Fig. 196) 11 26..29 

Skirt with double-box-plait in front and back, cut- 
ting and making 11 28..29 

Skirt with double-box-plait in front and back, 

drafting pattern of, (Fig. 196-A) 11 27..28 

Skirt w.ith four long gores and four shorter ones, 

cutting and making plaited sections, 

(Figs. 190-191) 11 21..22 

Skirt, with four long gores and four shorter ones 

lengthened by plaited sections, (Fig. 189) 11 21. .22 

Skirt, with irregular flounce, yoke, and inverted 

plait, drafting pattern of, (Fig. 187) 11 17..18 

Skirt with irregular side gores at hip line, (Fig. 192) 11 22. .25 
Skirt Avith irregular side gores at hip line, draft- 
ing pattern, (Fig. 194) 11 24. .25 

Skirt with irregular side gores below hip line, 

(Fig. 193) 11 23..26 

Skirt with irregular side gores below hip line, 

drafting pattern, (Fig. 195) 11 25..26 

Skirt, with panel front and back, (Fig. 180) 11 11 

Skirt with plaited flounce, (Fig. 186) 11 16. .19 

Skirt with plaited flounce, drafting pattern of, 

(Fig. 184) 11 13..15 

Skirt with plaited flounce, making flounce of, 

(Fig. 185) 11 15..16 



Lesson Pag^e 
Skirt with yoke, panel front, and side plaited 

fluonce, (Fig. 183) 11 12.16 

Skirt, yokes 9 13.. 15 

Skirt yokes, circular, (Fig. 157) 9 13. .14 

Skirt yokes, deep circular, (Fig. 158) 9 14. .15 

Skirt yokes, three-piece, (Fig. 159) 9 15 

Skirts, bands and fo'ds used in trimming 11 3. .4 

Skirts, bordered, (Fig. 174) 11 4. .5 

Skirts, box-plaited, (Fig. 166) 10 13. .18 

Skirts, box-plaits set in at a graduated distance 

from the bottom of a 10 15. .17 

Skirts, box-plaits set in at the seams, full lengtli.... 10 15. .17 

Skirts, circular, (Fig. 1^2) 9 24. .27 

Skirts, cutting and making bands and folds used in 

trimming 11 3. .4 

Skirts, different methods of shirring 9 28. .30 

Skirts, double box-plaited 10 18. .19 

Skirts, double box-plaited, making 10 19 

. Skirts, finishing bottom of single box-plaited 10 17 

Skirts, general instructions for adding flare to 8 23. .25 

Skirts, inverted box-plaited 10 17. .18 

Skirts, inverted box-plaited, graduated 10 17. .18 

Skirts of bordered materials, (Fig. 174) 11 4. .5 

Skirts of even number of gores 10 10. .13 

Skirts of uneven number of gores 10 9. .10 

Skirts, shirred 9 28. .30 

.Skirt, side plaited . 9 16. .21 

Skirts, single box-plaited, basting and stitching. . . . 10 15. .17 

Skirts, single box-plaited, cutting 10 13. .15 

Skirts, triple box-plaited 10 19 

Skirts, walking 9 6. .9 

Skirts with flounces 10 3..7 

Skirts, with plaits on back edges of the gores, 

(Fig. 175) 11 5..8 

Skirts, with plaits on front edges of the gores, 

(Fig. 176) 11 5. .9 

Skirts, Avith plaits set in at knee depth 9 21 

Skirts, with three tucks or plaits between the plain 

gores 9 23.24 

Skirts, with two tucks or plaits between the plain 

gores, (Fig. 161) 9 21. .23 

Slashes for arms in an evening cape 13 30 

Sleeve, altering a, that draws across the top, 

(Figs. 135-136) 6 22..23 

Sleeve, attaching cuff to a shirtwaist 4 29. .30 

Sleeve, basting lining of, (Fig. 65) 4 4 

Sleeve, cuff for Bishop, (Fig. 89) 4 31 

Sleeve, cuff of a shirtwaist, (Figs. 83-84) 4 29. .30 

Sleeve, drafting a Bishop, (Fig. 62) 3 14. .16 

Sleeve, drafting a Leg O'Mutton, (Fig. 64) 3 18. .19 

Sleeve, drafting a mannish shirtwaist, (Fig. II) 30 22. .23 

Sleeve, drafting a Mousquetaire, (Fig. 63) 3 16..17 



Lesson Pag'e 

Sleeve, drafting a shirtwaist, (Fig. 61) 3 12. .14 

Sleeve, drafting a two-piece 3 8. .11 

Sleeve, fitting lining of 4 7 

Sleeve, gathering shirtwaist 4 30.. 31 

Sleeve lining, applying to semi-fitting coat 12 26 

Sleeve, making cuff for a shirtwaist 4 29 

Sleeve, mannish shirtwaist, sewing in, (Fig. 99) 5 10 

Sleeve measures 3 7..8 

Sleeve measure, armhole 3 8 

Sleeve measure, elbow, (Fig. 57) 3 8 

Sleeve measure, hand, (Fig. 57) 3 8 

Sleeve measure, inside length from armhole to 

wrist, (Fig. 56) 3 8 

Sleeve measure, length from shoulder to elbow, 

(Fig. 57) 3 8 

Sleeve of night shirt 16 24..25 

Sleeve,^ notching shirtwaist, (Fig. 85) 4 30 

Sleeve of bathrobe 16 26 

Sleeve of boy's Russian suit 17 12 

Sleeve, opening of Bishop, (Fig. 88) 4 31 

Sleeve, overlap for a shirtwaist, (Fig. 81) 4 29 

Sleeve, sewing in shirtwaist, (Fig. 86) 4 30.. 31 

Sleeve, tight, glove-fitting 3 20 

Sleeve, tracing and cutting under part of 3 12 

Sleeve, tracing and cutting upper part of 3 12 

Sleeve, overlap for a shirtwaist, (Fig. 81) 4 29 

Sleeves, foundation of all 3 20 

Sleeves of a dressing sack 14 16 

Sleeves of a man's shirt, making 16 13. .14 

Sleeves of an evening coat 13 11 

Sleeves of an evening coat, sewing cuif on 13 11 

Sleeves of semi-fitting coat, attaching cuff, (Fig. 213) 12 25 
Sleeves of semi-fitting coat, making cuffs for, 

(Fig. 212) 12 24 

Sleeves of semi-fitting coat, shrinking fullness out 

of, (Fig. 214) 12 25 

Sleeves of semi-fitting lined coat, (Fig. 211) 12 24..25 

Sleeves of unlined coat, binding armhole, (Fig. 223) . . 12 31 

Sleeves of unlined coat, interlining of, (Fig. 222).... 12 30 

Sleeves of unlined coat, making, (Fig. 222) 12 30 

Sleeves of unlined coat, sewing in 12 31 

Slip for infant 15 3. .8 

Slip for infant, cutting and making 15 6. .7 

Slip for infant, drafting back of, (Fig. 269) 15 5 

Slip for infant, drafting front of, (Fig. 268) 15 4 

Slip for infant, drafting sieve of, (Fig. 270) 15 5.. 6 

Slip for infant, with fullness at neck, (Fig. 271) 15 6..7 

Slip for infant, with yoke and skirt, (Fig. 272) 15 7 

Slip-stitching ^ 8 14 

Slips, princess, (Fig. 257) 14 10. .13 

Slips, princess, making 14 12. .13 

Slips, princess, of longcloth, nainsook, batiste, etc... 14 11. .12 



Lesson Page 

Slips, princess, of silks, satins, etc 14 12 

Slips, princess, with a deep flounce 14 12 

Slips, princess, with accordian-plaited ruffle 14 12 

Slips, princess, with embroidery flounce buttoned on 14 13 

Slipper bows for the bride, (B, C, D, & E, Fig. 545) . . 28 24.25 

Slipper bows for the graduate, (D, F, & G, Fig. 546) 28 30. .33 

Slot seam 1 24 

Smocking 1 17..19 

Smocking, basting for, (Fig. 24) 1 17 

Smocking, diamond-stitch used in, (Fig. 27) 1 18 

Smocking, gathering for, (Fig. 25) 1 18 

Smocking, honeycomb-stitch used in, (Fig. 28). 1 18. .19 

Smocking, marking for, (Fig. 23) 1 17 

Smocking, rope-stitch used in, (Fig. 26) 1 18 

Sour fruits, to remove 30 10 

Sour wine, to remove 30 10 

Soutache braid and rope silk on ribbon for a trim- 
ming band, (Fig. 543) 23 27..29 

Soutache braid combined with French konts for a 

trimming band, (Fig. 450) 23 26 

Split-stitch, (Fig. 378) 20 10 

Sponge silk, to 29 16..17 

Sponge velvet ribbon, to 30 15 

Sponging colored materials 12 4 

Springing in the bones 4 15 

Southern trip, appropriate wardrobe for 19 5. .7 

Square, face of 2 5 

Square, illustration of 2 4 

Square, reverse of 2 5 

Square, use of 2 5. .7 

Square yoke for a little girl's dress, (Fig. 296) 15 24 

Stains and spots, to remove 15 24 

Stamping for shadow embroidery 26 6. .7 

Standard colors in oil tube paints for stenciling. ... 22 19. .20 

Staying a tailored buttonhole, (Fig. 18) 1 15 

Stearin, to remove 30 9 

Stem-stitch, (Fig. 368) 20 5. .6 

Stencil, making a 22 18. 19 

Stenciled buttons, (Fig. 520) 26 24 

Stenciled parasols, (Fig. 541) 28 16..17 

Stenciling 22 17..28 

Stenciling, brushes needed 22 25 

Stenciling, color of pigments and fabric in working 
out a poppy, rose, chrysanthemum, pansy, and 

primrose design 22 23 

Stenciling, difference in stencil plates, (Figs. 435-436) 22 17. .18 

Stenciling, embellished with embroidery 22 28 

Stenciling, how to apply paint 22 26. .27 

Stenciling, how to mix oil paints for 22 20. .21 

Stenciling, how to test colors before applying on the 

real work 22 22 

Stenciling, illustration of three colors in, (Fig. 437) . . 22 21..22 



Lesson Page 



Stenciling, inaportant points to consider 

Stenciling, indelible pastes used in 

Stenciling, laundering 

Stenciling, making a pad for 

Stenciling, mechanical part of. 



22 

22 

22 

22 

,. 22 

Stenciling, on thin fabrics 22 

Stenciling, outfits for 22 

Stenciling, pigment and material suitable for coat 

sets, (Figs. 438-439) 22 

Stenciling, placing unit in spotting 22 

Stenciling, preparing for a belt 22 

Stenciling, preparing tapestry dyes for 22 

Stenciling, standard colors in oil tube paints 22 

Stenciling, thin and heavy materials suitable for.... 22 
Stenciling, use of two or more shades in the same 

design 22 

Stenciling, using a plate in a continuous design.... 22 

St 

St 

St 

St 

St 

St: 

St 



tch used to simulate beads 23 

tches, arrow-head, (Fig. 401) 20 

back, (Fig. 3) 1 

back embroidery, (Fig. 400) 20 

Bermuda, fagotting, (Fig. 516) 26 

Bermuda fagotting, detail of, (Figs. 516-517) 26 
Bermuda fagotting, in butterfly design. 



tches 
tches 
tches 
tches 
tches 



(Fig. 518) 26 



tches 
tches 
tches 
tches 
tches 
tches 
(Fig, 
tches 
tches 
tches 
tches 
tches 
tches 
tches 
tches 
tches 
tches 
tches 
tches 
tches 



tches 
tches 

the 
tches 

the 
tches 



bird's-eye or lazy daisy, (Fig. 387) 20 

braid, (Fig. 404) 20 

buttonholing, (Fig. 380) 20 

cat, (Figs. 7-8) 1 

chain, (Fig. 375) 20 

collar and cuff set in Wallachian design, 

382) 20 

coral, (Fig. 370) 20 

couching, (Fig. 368-A) 20 

cross, (Fig. 383) 20 

darning, (Fig. 390) 20 

darning in floral design, (Fig. 393) 20 

diamond, for smocking, (Fig. 27) 1 

double-chain, (Fig. 376) 20 

double coral 20 

double-cross, (Fig. 385) 20 

embroidery 20 

embroidery 26 

embroidery, articles necessary for 20 

embroidery combined with net, lace, etc, 



(Figs. 405-406) 20 



26 



embroidery damask, (Fig. 512) 

embroidery design for waist that opens in 
back, (Fig. 405) 

embroidery design for waist that opens in 
front, (Fig. 406) ' 20 

embroidery, eyelet or Madeira 22 



17-18 
19 
28 

25.-26 
17 
27 
28 

23.-24 

26 

25 

19 

19-20 

22-23 

27-28 

26 

10 

24-25 

6 

23-24 

14-17 

15-16 

16-17 
14-15 
26-27 
10-11 

7-8 
9 

11-12 

7 

6 

12-14 

17 

18 

18 

9.10 

7 

14 

3-27 

3-14 

28-29 

30-32 
12 



20 30-31 



31-32 
29-31 



Lesson Page 
Stitches, embroidery, eyelets buttonholed, 

(Fig. 439-C) 22 30 

Stitches, embroidery, eyelets shaded in both the 

overcast and buttonholed, (Figs. 439-D & 439-E) 22 30 

Stitches, embroidery, how to choose thread and silk 20 27..28 

Stitches, embroidery on jabot, (Fig. 407) 20 32 

Stitches, embroidery, oval eyelets overcast, 

(Fig. 439-B) 22 29 

Stitches, embroidery, round eyelets overcast, 

(Fig. 439-A) 22 29 

Stitches, embroidery, waist design in Madeira 

combined with French embroidery and lace 

insertion, (Fig. 439-Fj 22 31 

Stitches, even-basting, (Fig. 1) 1 6 

Stitches, fagotting, (Fig. 394) 20 18..19 

Stitches, feather, (Fig. 9) 1 8 

Stitches, feather or brier, (Fig. 369) 20 6..7 

Stitches, flat, (Fig. 395) 20 19..20 

Stitches, French knot 20 15. .16 

Stitches, French knots to simulate beads 20 16. .17 

Stitches, French shadow, (Fig. 510) 26 10..12 

Stitches, French shadow, detail of, (Fig. 511) 26 11..12 

Stitches, French stem, (Fig. 399) 20 23 

Stitches^ German knot, (Fig. 403) 20 25. .26 

Stitches, hemming, (Fig. 6) 1 7 

Stitches, herringbone, (Fig. 505) 1 21 

Stitches, honeycomb, (Fig. 505) 26 3..4 

Stitches, lattice or cat 26 4 

Stitches, long and short, (Fig. 397) 20 21 

Stitches, outline or stem, (Fig. 368) 20 5..6 

Stitches, overcast, (Fig. 396) 20 20..21 

Stitches, overcasting, (Fig. 4) 1 6 

Stitches, overhanding, (Fig. 5) 1 6..7 

Stitches, padding, (Fig. 206) 12 20 

Stitches, padding for satin, (Fig. 398) 20 22 

Stitches, pattern darning, (Fig. 391-392) 20 17..18 

Stitches, ribbed wheel, (Fig. 515) 26 14 

Stitches, rope for smocking, (Fig. 26) 1 18 

Stitches, Romanian, (Fig. 519) 26 17..18 

Stitches, running 1 6 

Stitches, satin, (Fig. 398) 20 21..23 

Stitches, seed or dot, (Fig. 386) 20 14 

Stitches, sewing 1 5..8 

Stitches, shadow, (Fig. 507) 26 4..12 

Stitches, shadow applique, (Figs. 508-509) 26 8.10 

Stitches, shadow applique, finishing edge of, 

(Fig. 509) 26 9..10 

Stitches, shadow, choosing colors for 26 5..6 

Stitches, shadow, designs used for 26 6 

Stitches, shadow, detail of, (Fig. 507) 26 7..8 

Stitches, shadow, stamping for 26 6..7 

Stitches, sheaf, (Fig. 31) 1 20..21 



Lesson Page 

Stitches, split, (Fig. 378) 20 10 

Stitches, treble coral, (Fig. 371) 20 7 

Stitches, triangular buttonholing, (Fig. 506) 26 4 

Stitches, twisted bars, (Fig. 513) 26 12..13 

Stitches, twisted chain, (Fig. 377) 20 10 

Stitches, twisted running, (Fig. 379) 20 10 

Stitches, uneven basting, (Fig. 2) 1 6 

Stitches, vine, (Fig. 374) 20 8. .9 

Stitches, vine medallion in bird's-eye or lazy daisy, 

(Fig. 388) 20 15 

Stitches, waist front in cross-stitch design, (Fig. 384) 20 13..14 

Stitches, Wallachian, (Fig. 381) 20 11..12 

Stitches, washable French knot, (Fig. 389) 20 16 

Stitches, wheat, (Fig. 402) 20 25 

Stitches, woven spider, (Fig. 514) 26 13 

Stitches, woven spider combined with lace in- 
sertion, (Fig. 514) 26 13.14 

Stitching a bias and straight edge together 29 '20 

Stitching and finishing seams of a lining 4 8 

Stitching around pocket opening of a coat, (Fig. 224) 13 3. .4 
Stitching box-plait in front of Gibson waist, 

(Fig. 103) 5 15 

Stitching gores of a skirt 8 3 

Stitching plaits in Gibson waist, (Fig. 101) 5 13..15 

Stitching single box-plaited skirts 10 15..17 

Stitching sleeves of semi-fitting coat 12 24 

Stitching stand part of rolled turn-over collar, 

(Fig. 207) 12 21 

Stitching stand part of shawl collar, (Fig. 220) 12 29 

Stitching tailored belts 21 6 

Straight narrow tailored belts, (Fig. 408) 21 3..8 

Strap seam, (Fig. 41) 1 24..25 

Strap seam, imitation, (Fig. 42) 1 25 

Strap for seams, making, (Fig. 48) 1 27 

Striped material, cutting gores from, (Fig. 172) 10 24..26 

Strips, joining bias, (Fig. 46) 1 26 

Strips, marking bias, (Fig. 45) 1 26 

Stock collar, drafting a, (Fig. 121) 6 9..10 

Study, how to proceed 2 3 

Styles of 50 and 100 years ago compared with the 

present day styles 25 31. .35 

Suits, bathing, head-dress or scarf 19 13 

Suits, bathing 19 10.14 

Suits, bathing, in princess style, (Fig. 360) 19 11. .12 

Suits, bathing, in Russian blouse style, (Fig. 362) 19 13 

Suits, bathing, in Sailor blouse style, (Fig. 361) 19 12 

Summary of styles from 1820 to 1911 25 29..31 

Sunflower rosette, (Fig. 532) 27 35 .37 

Sunflower rosette, making foundation for, (D, 

Fig. 532) 27 36 



Lesson Page 

Surplice dress for a little girl, (Fig. 295) 15 23..24 

Surplice dress for a little girl, shield of 15 24 

Surplice maternity waist 14 19. .20 

T 

Tab, how to make a detached cuff with, (Fig. 319) . . 16 19. .20 
Tailored and dressy garments, difference in braiding 

designs for, (Fig. 432) 22 14 

Tailored belts, attractive designs, (Figs. 409-410-411) 21 8..9 

Tailored belts ,bias 21 6..7 

Tailored belts in move than one section, (Fig. 408).. 22 7..S 

Tailored belts, stitching of 21 6 

Tailored belts, straight and narrow, (Fig. 408). 21 3. .6 

Tailored bow for Brides' accessories 28 26 

Tailored buttonhole, (Fig. 17) 1 14 

Tailored buttonhole, bar-stitching 1 15 

Tailored buttonhole, pressing of 1 15 

Tailored buttonhole, staying of, (Fig. 18> 1 15 

Tailor-made skirt, finishing placket of, (Fig. 143).. 8 5..7 

Tailor's cushion, drafting of, (Fig. 201) 12 14 

Tailors' square, (illustration) 2 4 

Tailors' square, face of 2 5 

Tailors' square, reverse of 2 5 

Tailors' square, use of 2 5. .7 

Tailors' tacks, or markstitching, (Fig. 33) 1 28..29 

Take mildew from clothes, to 30 7 

Taking care of sewing machine 29 9. .12 

Taking measures correctly, importance of 2 7 

Taking measures for a man's shirt 16 3 

Taking measures for boys' trousers 19 17. .21 

Taking measures of waist 2 5. .6. .7 

Taking measures, order of 2 8 

Taking skirt measures, observation in 7 13 

Tape, basting to front edges of coat 12 22 

Tape, three-cord 4 19 

Tapestry dyes prepared for stenciling 22 19 

Tapestry, linen and pique handbags 27 31 

Taping edges of evening coat 13 9 

Tassel end for sashes, (Fig. 424) 21 26..28 

Tassels for finishing ends of sashes, making of 27 24 

Tell cotton from linen, to 29 24..25 

Tell right side of goods, to 29 18 

Temperament with reference to designing 24 4 

Terms: modiste, dressmaker, seamstress, used with 

reference to designing 24 3 

Test cotton, to 29 24 

Test silk, to 29 24 

Test wool, to 29 24 

Testing colors before applying in stenciling 22 22 

Testing different materials 29 24.. 25 

Testing hip line of seven-gore skirt 7 6..7 



Lesson Page 

Testing measures of waist 3 3 

Testing waistline of seven-gore skirt 7 10 

Tliin and lieavy materials suitable for stenciling.... 22 22. .23 

Thin fabrics, stenciling of 22 27 

Thirteen-gore skirt 10 10 

Thread and silk, how to choose for embroidery work 20 27. .28 

Three colors used in stencil design, (Fig. 437) 22 21. .22 

Three-cord tape 4 19 

Three-cord tape, boning coats with 4 19. .20 

Three-piece back and two-dart front for 40 inch 

bust measure and over, drafting of, (Fig. 58) ... . 2 22. .24 

Three-piece skirt yoke, (Fig. 159) 9 15 

Three-tuck ruching 1 31 

Tie, stock and collar in tailored design 27 17.. 18 

Tight-fitting coat draft, cutting sections apart 12 13. .14 

Tight-fitting coat, drafting of, (Fig. 200) 12 11..13 

Tight-fitting corset-cover 17 20 

Tight-fitting waists, plain 6 3 

Tight glove-fitting sleeve 3 20 

To advertise your services 29 30..31 

To arrange for lengthening summer dresses 29 21 

To attach large buttons on tub gowns 29 19 

To clean and curl feathers 30 18. .19 

To clean black cashmere 30 14 

To clean black lace 30 6 

To clean laces without washing 30 6. .7 

To clean ribbon or silk 30 11. .12 

To clean silver and gilt ornaments 30 19 

To color lace to match a gown 29 17. .18 

To cut goods under insertion 29 23 

To darn a tear invisibly 29 18 

To determine quality of silk 30 17 

To embroider stem or outline-stitch 29 25 

To gather goods without a ruffler 29 19 

To increase trade 29 28.. 29 

To join thin lace 29 23 

To keep goods from fraying 1 12 

To keep light dresses dainty 29 26 

To keep one's waist and skirt together at waistline 29 20 

To launder an embroidered waist before cutting out 29 21 

To make buttonholes in thick cloth 1 12 

To make old cashmere look new 30 16. .17 

To mark tucks with the machine 29 25 

To make willow plumes 30 19 

To pad treadle of sewing machine 29 27 

To press tucks in crepe de Chine 29 15 

To prevent buttons from tearing out 29 19 

To prevent neck and armhole edges from stretching 29 20 

To prevent selvage edge from drawing 29 20 

To prevent silk from pulling out of shape 29 15 

To prevent thread from snarling 29 15 



" ' Lesson Pa ge 

To prevent work from catching in machine wheel. ... 29 14. .15 

To protect forefinger of left hand 29 15 

To protect the work table 29 16 

To put lace insertion in tub dresses 29 25 

To remove acid, vinegar, sour wine, must, sour 

fruits, tannin from chestnuts, green walnuts.... 30 10 

To remove alixarine inks 30 9 

To remove basting thread from silks and velvets.... 29 21 

To remove blood and albuminoid matters 30 9 

To remove fruit stains 30 8 

To remove grease from white goods 30 9 

To remove grease spots from wool and silk 30 8 

To remove ink 30 8 

To remove iron rust 30 7. .8 

To remove iron spots and black ink 30 10 

To remove oil colors, varnishes and resins on white 

or colored goods 30 9 

To remove paint 30 8. .9 

To remove shine from old skirts 29 26 

To remove stains and spots 30 9. .10 

To remove stearine 30 9 

To remove tar, cart-wheel grease, mixture of fat, 

resin, carbon and acetic acid 30 10 

To remove vegetable colors, red wine, red ink and 

fruit 30 9 

To remove water spots from pongee. 29 20 

To renovate furs 30 18 

To renovate plush 30 15..16 

To restore color 30 13 

To restore color to faded ribbon 30 12 

To restore finish to old goods 30 16 

To rip a long seam 29 18 

To save time when stitching tucks 29 16 

To set colors in cotton materials 30 13. .14 

To sew dress shields in a kimono waist 29 26. .27 

To sew harsh goods easily 29 15 

To sharpen needles 29 23 

To sharpen scissors 29 18 

To sponge silk 29 16..17 

To sponge velvet ribbon 30 15 

To stitch a bias and straight edge together 29 20 

To take mildew from clothes 30 7 

To tell cotton from linen 29 24..25 

To tell right side of goods 29 18 

To test cotton 29 24 

To test different materials 29 24 

To test silk 29 24 

To test wool 29 24 

To turn a hem of heavy linen 29 25 

To use embroidery hoops in patching 29 15 

To wash a kilted skirt 29 22 



Lesson Page 

To wash colored silk 30 12 

To wash flannels 30 3..4 

To wash infants' underwear 30 4..5 

To wash laces 30 5. .6 

To wash merinos and silks 30 14 

To wash white ribbon 30 12 

To whiten yellow linen 30 10..11 

Tourist coat 18 11 

Tracing and cutting sections of princess 14 7 

Tracing and cutting under part of sleeve 3 12 

Tracing and cutting upper part of sleeve 3 12 

Tracing draft for seven-gore skirt 7 18 

Tracing Sailor collar of Eton coat 18 5 

Tracing sections of Eton coat 18 5 

Tracing the waist lining 3 4. .7 

Trade, how to increase 29 28. .30 

Transfer pattern, how to use, (Fig. 367) 20 4 

Transparent collar 5 25 

Traveling outfit 19 3..4 

Traveling suit for bride 19 19 

Treble-coral embroidery-stitch, (Fig. 371) 20 7 

Tri-angular buttonholing, (Fig. 506) 26 4 

Trimming, applique 23 30 

Trimming bands 23 10..29 

Trimming bands, applying to a garment 23 12. .21 

Trimming bands cut to shape, (Fig. 446) 23 20..21 

Trimming bands, double bias of striped material, 

(Fig. 442) 23 12..13 

Trimming bands, graduated 23 19 

Trimming bands in connected squares, (Fig. 443) .... 23 14. .15 

Trimmings bands interwoven, (Fig. 444) 23 16. .17 

Trimming bands of all-over embroidered net 

worked with chain-stitch in rope silk, (Fig. 454) 23 29 

Trimming bands of block design, (Fig. 445) 23 18..19 

Trimming bands of broadcloth 23 11 

Trimming bands of cord shirring, (Fig. 449) 23 25..26 

Trimming bands of cord shirring finished, (Pig. 450) 23 25. .26 

Trimming bands of different widths, (Fig. 442) 23 11..12 

Trimming bands of embroidery on net in satin- 
stitch and darning, (Fig. 450) 23 26 

Trimming bands of Grecian design, (Fig. 445) 23 17..18 

Trimming bands of heavy material 23 10..11 

Trimming bands of lace and braiding designs 23 17..29 

Trimming bands of lace insertion, (Fig. 446) 23 20. .22 

Trimming bands of lace insertion and tucks, 

(Fig. 447) 23 22..23 

Trimming bands of military and soutache braid, 

(Fig. 443) 23 14.16 

Trimming bands of rope silk and soutache braid on 

ribbon. (Fig. 453). . 23 27.29 



Lesson Page 
Trimming bands of rope silk aiul tinsel braid on 

net, (Fig. 453) 23 27..28 

Trimming bands of shadow embroidery and darn- 
ing combined with beading, (Fig. 452) 23 26..28 

Trimming bauds of shirring, (Fig. 448) 23 23..24 

Trimming bands of silli 23 10 

Trimming bands of soutache braid combined with 

French knots, (Fig. 450) 23 26 

Trimming bauds, straight, bias, wide and narrow.... 23 10. .17 

Trimming bands of two separate lengths, (Fig. 445) . . 23 18..19 
Trimming bands of velvet or filmy material, 

(Fig. 446) 23 20 

Trimming bands of wide or narrow folds, (Fig. 446) 23 20. .21 

Trimming bands piped, (Fig. 449) 23 25 

Trimming bands, plain, used on either side of a 

bias band of striped material, (Fig. 443) 23 13. .14 

Trimming for dresses 23 3. .32 

Trimming skirts, bauds or folds used in 11 3. .4 

Triple-box-plaited skirts 10 19 

Trousseau, wedding 19 17. .21 

Trunk, art of packing 29 31..33 

Tucked blouse with insertion between tucks, 

(Fig. 94) ,. 5 7 

Tucked flounces 10 7 

Tucked kimono fancy waist, (Fig. 110) 5 22 

Tucked kimono waist, (Fig. 106) 5 18..19 

Tucked seam of kimono skirtwaist, (Fig. 107) 5 19 

Tucked shirring, (Fig. 55) 1 30 

Tucked yoke, circular, drafting, (Fig. 119) 6 6. .8 

Tucking for fancy waist, illustrated in (Fig. 90) .... 5 4. .5 
Tucks and insertion in waist illustrated in Fig. 94, 

marking for 5 8 

Tucks and yokes of fancy waist illustrated in Fig. 

92, marking for 5 5. .6 

Tucks at bottom of skirt 10 7..9 

Tucks at bottom of skirt, marking for 10 7. .8 

Tucks in back of shirtwaist, (Fig. 74) 4 25 

Tucks in circular yoke, basting of, (Fig. 120) 6 8 

Tucks in fancy kimono waist, basting of, (Fig. Ill) 5 21 

Tucks in front of shirtwaist, (Fig. 73) 4 22..24 

Tucks in shirtwaist, marking for, (Fig. 72) 4 23 

Tucks, nun's, preparing of, (Fig. 165) 10 8. .9 

Tucks, small, at top of skirt, (Fig. 177) 11 9..10 

Tucks, small, at the top of skirt, drafting pattern 

for, (Fig. 178) 11 9..10 

Tunic, or overskirt, (Fig. 188) 11 19. .20 

Turn a hem of heavy linen, to 29 25 

Turnover collar, rolled and lapels, drafting of 12 8..9 

Twenty-one-gore skirt 10 10 

Twenty-three-gore skirt 10 10 

Twisted bars, (Fig. 513) 26 12..13 



Lesson Page 

Twisted-chain embroidery-stitch, (Fig. 377) 20 10 

Twisted-running embroidery-stitch, (Fig. 379) 20 10 

Two or more shades used in same stencil design.... 22 27. .28 

Two-piece bacli and two-dart front, drafting of 2 12. .21 

Two-piece circular skirt 9 26 

Two-piece evening or auto cape 13 27 

Two tones of braid interlaced, (Fig. 425) 22 5..6 

U 

Underarm measure, (Figs. 56-57) 2 9 

Underarm seam, to bone, (Fig. 69) 4 16 

Underarm section of kimono waist 30 26 

Underlap of a man's shirt sleeve 16 13. .14 

Underlap of shirtwaist sleeve, (Fig. 81) 4 29 

Undermuslins, the bride's 19 20 

Under part of sleeve, tracing and cutting 3 12 

Underskirt, drafting yoke for, (Fig. 331) 17 19 

Underskirts 17 19 

Underwear, drafting a combination suit of corset- 
cover and drawers, to be joined at waist, 

(Fig. 335) 17 23..24 

Underwear for maternity wear 14 21 

Under, muslin 17 13. .32 

Underwear, muslin, bust supporter or brassiere, 

(Fig. 333) 17 21..23 

Underwear, muslin, corset-cover without seams.... 17 23 
Underwear, muslin, drafting a brassiere pattern, 

(Fig. 333) 17 22. .23 

[Underwear, muslin, drafting a child's plain drawer 

pattern 17 32 

Underwear, muslin, drafting a circular drawer pat- 
tern, (Fig. 330) 17 18 

Underwear, muslin, drafting a drawer band, 

(Fig. 329) 17 17 

Underwear, muslin, drafting and making a combina- 
tion suit with top and lower portions in one 

piece, (Fig. 338) 17 26..29 

Underwear, muslin, drafting a plain drawer pat- 
tern, (Fig. 325) 17 14..15 

Underwear, muslin, drafting a yoke for petticoat, 

(Fig. 331) 17 19 

Underwear, muslin, drafting child's one-piece 

drawers, (Figs. 344-345) 17 30.31 

Underwear, muslin, embroidery corset cover, 

(Fig. 332) 17 20-21 

Underwear, muslin, night gowns 17 19. .20 

TTnderwear. muslin, tight-fitting corset-cover 17 20 

T^neven basting-stitch, (Fig. 2) 1 6 

Uneven number of gores, skirts of 10 9. .10 

Unlined coat 12 26..31 

Unlined coat, adjusting shoulder seams of an 12 27. .28 



Lesson Page 
Uulined coat, applying interlining to back of 

(Fig. 218) 12 28 

Unlined coat, applying interlining to front of, 

(Fig. 217) 12 27 

Unlined coat, applying shawl collar to, (Fig. 221).. 12 29 

Uulined coat, binding armholes of an, (Fig. 223).... 12 31 
Unlined coat, cutting and applying front facings to 

an 12 29 .30 

Unlined coat, cutting and applying front facings to 

collar of 12 30 

Uulined coat, cutting and making sieves of an, 

(Fig. 222) 12 30 

Unlined coat, finishing bottom of 12 30 

Unlined coat, making shawl collar for a, 

(Figs. 219-220) 12 28..2.9 . 

Unlined coat, sewing sleeves in an 12 31 

Upper part of sleeve, tracing and cutting 3 12 

Use of bloomers in house-cleaning 29 21 

Use short threads in your needle 29 22. .23 

y 

Variances to the general rule of skirt cutting 10 24. .25 

Varnish on white or colored goods, to remove 30 9 

Vegetable colors, to remove 30 9 

Veil, bride's 19 18.19 

Veil, bride's, (Fig. 545) 28 23..24 

Velvet, care of 30 14..15 

Velvet handbags 27 30..31 

Velvet, plush, etc., basting 4 12..13 

Velvet ribbon neckband 27 10 

Vertical buttonholes, (Fig. 16) 1 11..14 

Vest of Russian blouse coat 13 21 

Vine medallion in bird's-eye or lazy-daisy-stitch, 

(Fig. 388) 20 15 

Vinegar, to remove 30 10 

W 

Waist design, braiding combined with French em- 
broidery, (Fig. 433) 22 15 

Waist design, braiding combined with Madeira em- 
broidery, (Fig. 434) 22 16 

Waist design in Madeira combined with French em- 
broidery and lace insertion, (Fig. 439-F) 22 31 

Waist drafting, with a three-piece back and a two- 
dart front for a 40 inch bust measure and over, 

(Fig. 58) 2 22.24 

Waist drafting, with a two-piece back and a two- 
dart front 2 12.21 

Waist, draping back of 5 24 

Waist, draping back of an evening or low-necked. ... 5 26 



Lesson Page 

Waist, draping front of, (Pig. 114) 5 24 

Waist, draping front of an evening or low-necked.. 5 25..26 
Waist, draping yolce of evening or low-necked, 

(Fig. 115) 5 26 

Waist, fancy, with double yoke and tucks, (Fig. 92).. 5 5 
Waist, fancy, with double yoke and tucks, draft of 

( Fig. 93) 5 5..7 

Waist for infant's petticoat 15 lO-.ll 

Waist front, collar and cuffs in braiding, (Fig. 428).. 22 8. .9 

Waist front in cross-stitch design, (Fig. 384) 20 13.-14 

Waist, Gibson, (Fig. 100) 5 11..15 

Waist, Gibson, allowance for plaits, (Fig. 102) 5 11..13 

Waist, Gibson, box-plait in front of, (Fig. 103) 5 15 

Waist, Gibson, stitching plait of, (Fig. 101 5 14.15 

Waist, kimono 30 23. .26 

Waist, kimono, draft of, (Fig. Ill) 30 23..24 

Waist, kimono, fancy, shirred, (Fig. 112) 5 22 

Waist, kimono, fancy, tucked, (Fig. 110) 5 21 

Waist, kimono, fancy with seam over shoulder, 

(Fig. 108) 5 20 

Waist, kimono, gusset in 30 26 

Waist, kimono, making the tucked seam of, (Fig. 107) 5 19..20 

Waist, kimono, tucked, (Fig. 106) '5 18..20 

Waist, kimono, underarm section of 30 26 

Waist, linging to bone a 4 15. .18 

Waist measure, (Figs. 56-57) 2 8 

Waist measures, (Figs. 56-57) 2 8. .12 

Waist, or blouse for maternity wear, (Figs. 260-261) 14 18..20 

Waist, plain tight-fitting 6 3..4 

Waist , second fitting of 4 9. .11 

Waist, testing measures of 3 3 

Waist, that opens in back, design for, (Fig. 405) 20 30..31 

Waist that opens in front, design for, (Fig. 406) 20 31..32 

Waist, tracing and cutting sections of 3 4 

Waist, tracing lining of 3 4. .6 

Waist, with fancy front and tucks, (Fig. 90) 5 3 

Waist, with fancy front and tucks, draft of, (Fig. 91) 5 3..5 

Waist, with guimpe, (Fig. 109) 5 20 

Waist, with tucks and insertion, (Fig. 94) 5 7 

Waist, with tucks and insertion, draft of, (Fig. 95).. 5 7..8 

Waistline of five-gore skirt, constructing 8 15 

Waistline of seven-gore skirt, constructing 7 7..8 

Waistline of seven-gore skirt, testing 7 10 

Walking skirts 9 6..9 

Walking skirts, applying brush braid to bottom of.. 9 8..9 

Walking skirts, applying mohair braid to bottom of . . 9 8 

Walking skirts, finishing bottom of, (Fig. 152) 9 7. .8 

Wallachian-stitch, (Fig. 381) 20 11. .12 

Wallachian-stitch, collar and cuff set in, (Fig. 382;.. 20 11. .12 

Wardrobes appropriate for various occasions 19 3.30 

Wardrobe for a Southern trip 19 5..7 



Lesson Page 

Wardrobe for a trip abroad 19 7..10 

Wardrobe for a Western trip 19 4..5 

Wardrobe for the bride 19 17..21 

Wardrobe for the seaside 19 10. .14 

Warren's featherbone, illustrations of 4 13. .14 

Wash a kilted skirt, to 29 22 

Wash colored silk, to 30 12 

Wash flannels, to 30 3..4 

Wash infants' underwear, to 30 4..5 

Wash laces, to 30 5..6 

Wash merinos and silk, to 30 14 

Wash skirt, finishing placket of, (Fig. 146) 8 9 

Wash white ribbon, to 30 12 

Washable French knots, (Fig. 389) 20 16 

Washing flannels 30 3..4 

Washing laces 30 5. .6 

Wedding dress for the bride 19 18 

Wedding etiquette 19 21..22 

Wedding gown, materials suitable for 19 18 

Wedding trousseau 19 17. .21 

Weights in bottom of coats 12 31 

Welt seam, (Fig. 36) 1 23 

Welt seam, bound open, (Fig. 39) 1 24 

Welt seam, double-stitched, (Fig. 37) 1 23 

Welt seam, open, (Fig. 38) 1 23 

When tucks are too wide to make with a tucker.... 29 26 

Whiten yellow linen, to 30 10..11 

Whitening yellow flannels 30 11 

Wide crushed, fancy ribbon belts 21 11. .12 

Width of back measure, (Fig. 57) 2 9 

Wool, origin of 25 4. .7 

Wool, to test 29 24 

Woolen materials, basting 4 11 

Working buttonholes 1 13. .15 

W^oven spider-stitch 26 13 

Woven spider-stitch combined with lace insertion, 

(Fig. 514) 26 13..14 

Wrapper collar, drafting a, (Fig. 122) 6 10..11 

Wrapper pattern, to make a 13 14 

Wrappers 13 13..15 

T 

Yoke, and panel front, skirt with, (Fig. 183) 11 12.. 16 

Yoke and plaited flounce, cutting and making skirt 

with 11 15.16 

Yoke and plaited flounce, drafting skirt with, 

(Fig. 184) 11 13..14 

Yoke, applied to mannish shirtwaist, (Fig. 98) 5 10 

Yoke, circular, basting tucks in, (Fig. 120) 6 8 

Yoke, circular skirt, (Fig. 157) 9 13..14 

Yoke, circular tucked, drafting, (Fig. 119) 6 6..8 



Lesson Page 

Yoke, deep circular skii-t, (Fig. 158) 9 14..15 

Yoke, draft of waist witli double, (Fig. 93) 5 5..7 

Yoke, draping of evening or low necked waists 5 26 

Yoke, for underskirt, drafting a, (Fig. 331) 17 19 

Yoke, man's shirt, with or without 16 4..6 

Yoke, one-piece and collar, (Fig. 116) 6 4. .6 

Yoke, one-piece and collar opening in back, 

(Fig. 117) . 6 5.0 

Yoke, one-piece and collar opening on left shoulder, 

(Fig. 118) 6 6 

Yokes, skirt 9 13..15 

Yoke, three-piece, skirt, (Fig. 159) 9 15 

Yoke, waist with double, (Fig. 92) 5 5 

Yoke, with seams on the shoulder 5 23 

Yoke, without seams on the shoulder 5 w3 

Yoke, draping back of 5 23 



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